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Lot Essay
This work will be included in the Bart van der Leck forthcoming Digital Catalogue raisonnè currently being prepared by Cees Hilhorst.
'Mathematical truth gives expression to all that exists in the cosmos. In the visual arts a single mathematical image or signal is a symbol or image of our spiritual experience of cosmic reality.' (B. van der Leck, exh.cat., Tentoonstelling van werken door B. van der Leck, Vereniging 'Voor de Kunst', Utrecht, 1919, unpaginated).
The Dutch artist’s quasi-abstract paintings, comprised of geometric shapes and deconstructed forms, were often based on real world imagery. Van der Leck would abstract the content, form and composition of subjects, such as he did when painting this work titled Ezelskop (Donkey Head).
One can only vaguely sense the shapes of what once illustrated the head of a donkey. On the white background he projected small grey and black line- and dot-shaped forms, indicating the outline of the head, with two small dots illustrating the nostrils, and two grey diamond shaped elements forming the ears of the donkey. Only three forms are held in the primary colours yellow, red and blue.
His way of working was greatly influenced by collaborating with Piet Mondriaan and Theo van Doesburg between 1914 and 1918, forming the De Stijl movement. By using geometric shapes, straight corners and primary colours, their style of working intends to contribute to a better world by dismantling it and reducing it to the most essential shapes and colours.
However, due to disagreements and Mondriaan taking abstraction too far for Van der Leck’s taste, Van der Leck decides to leave De Stijl in 1918, and to resume a rather figurative style, later even designing vases, carpets and letters, such as Ex libris (for Madeleine de Vlam).
During the beginning of his artistic career and especially after he parted the De Stijl movement, Van der Leck was strongly supported by Mrs. Kröller-Müller, an art student and well-connected collector, as well as H.P. Bremmer, himself a painter, and important art critic, collector and dealer of his time. The artist designs many works for both, and between 1922 and 1931 Bremmer even functioned as a crucial advisor for Van der Leck, suggesting size and subject, and finding buyers for his pieces. Bremmer placed Ezelskop (Donkey Head) in the distinguished art collection of Mr and Mrs Baekers-de Vlam, well-known collectors in the south of Holland who had contact with many artist.
'Mathematical truth gives expression to all that exists in the cosmos. In the visual arts a single mathematical image or signal is a symbol or image of our spiritual experience of cosmic reality.' (B. van der Leck, exh.cat., Tentoonstelling van werken door B. van der Leck, Vereniging 'Voor de Kunst', Utrecht, 1919, unpaginated).
The Dutch artist’s quasi-abstract paintings, comprised of geometric shapes and deconstructed forms, were often based on real world imagery. Van der Leck would abstract the content, form and composition of subjects, such as he did when painting this work titled Ezelskop (Donkey Head).
One can only vaguely sense the shapes of what once illustrated the head of a donkey. On the white background he projected small grey and black line- and dot-shaped forms, indicating the outline of the head, with two small dots illustrating the nostrils, and two grey diamond shaped elements forming the ears of the donkey. Only three forms are held in the primary colours yellow, red and blue.
His way of working was greatly influenced by collaborating with Piet Mondriaan and Theo van Doesburg between 1914 and 1918, forming the De Stijl movement. By using geometric shapes, straight corners and primary colours, their style of working intends to contribute to a better world by dismantling it and reducing it to the most essential shapes and colours.
However, due to disagreements and Mondriaan taking abstraction too far for Van der Leck’s taste, Van der Leck decides to leave De Stijl in 1918, and to resume a rather figurative style, later even designing vases, carpets and letters, such as Ex libris (for Madeleine de Vlam).
During the beginning of his artistic career and especially after he parted the De Stijl movement, Van der Leck was strongly supported by Mrs. Kröller-Müller, an art student and well-connected collector, as well as H.P. Bremmer, himself a painter, and important art critic, collector and dealer of his time. The artist designs many works for both, and between 1922 and 1931 Bremmer even functioned as a crucial advisor for Van der Leck, suggesting size and subject, and finding buyers for his pieces. Bremmer placed Ezelskop (Donkey Head) in the distinguished art collection of Mr and Mrs Baekers-de Vlam, well-known collectors in the south of Holland who had contact with many artist.