11
Zdeněk Sýkora, Linien Nr. 22
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Öl auf Leinwand 150 x 150 cm. Gerahmt. Rückseitig auf der Leinwand signiert und datiert 'Sykora 82'. Auf dem Keilrahmen signiert, datiert und betitelt 'Sykora 82 Zdeněk Sýkora, Nr.22, 1982' sowie mit Maßangaben. - Mit leichten Altersspuren.
Die vorliegende Arbeit ist im Archiv Lenka Sýkorová und Zdeněk Sýkora, Louny, registriert.
Provenienz
Direkt vom Künstler erworben (1986); Privatsammlung, Nordrhein-Westfalen
Ausstellungen
Bottrop 1986 (Quadrat Bottrop, Josef Albers Museum), Zdeněk Sýkora, Retrospektive, Ausst.Kat.Nr.37 (mit rückseitigem Aufkleber)
Literatur
Zeitschrift Opus Musicum 2/2015, Brünn 2015, Abb. auf dem Cover der Zeitschrift
Lenka Sýkorová (Hg.), Zdeněk Sýkora, Interviews, Prag 2009, S.80 mit Farbabb. (dort betitelt: Linien Nr.22-399 Punkte)
Galerie Haupstadt Prag (Hg.), Zdeněk Sýkora, Retrospektive 1945-95, Ausst.Kat., Prag 1995, S.76 mit Farbabb. (dort betitelt: Linien Nr.22-399)
Tschechisches Museum der Künste Prag (Hg.), Josef Hlavacek, Die Poesie der Rationalität, Konstruktive Tendenzen in der tschechischen bildenden Kunst der 1960er Jahre, Prag 1993, Ausst.Kat., S.101 mit Abb.
Galerie Schoeller (Hg.), Erwin Steller, Faltblatt zur Ausstellung Konstruierte Unregelmässigkeit, Programmiertes Chaos, Fraktale Geometrie, Düsseldorf 1993, S.4 mit Abb. Nr.6 (dort betitelt: Nr.22)
Kunsthaus der Stadt Brünn (Hg.), Zdeněk Sýkora, Ausst.Kat., Brünn 1988, o.S. mit Abb. (dort betitelt: Linien Nr. 22 Nulllinien)
Kreisformen und Punkte in unterschiedlicher Größe ziehen sich in vielfältigen Konstellationen über die Bildfläche der „Linien Nr. 22“, dunkle Blau-, Grau- und Brauntöne dominieren, vereinzelt sind leuchtende Farben gesetzt.
Die seit 1973 entstehende, mit Hilfe des Computers konzipierte Werkreihe der Linienbilder ist die bekannteste im Oeuvre Zdeněk Sýkoras. Innerhalb dieser Gruppe gibt es auch Gemälde wie die „Linien Nr. 22“, die in ihrer Motivik dem Begriff der Linie zu widersprechen scheinen, denn sie sind allein aus Kreisen bzw. Punkten zusammengesetzt. Doch folgen diese Werke den gleichen technischen und kompositorischen Prinzipien wie die „klassischen“ Linienbilder.
Sýkora beginnt seine Laufbahn als naturalistischer Landschaftsmaler, in den 1950er Jahren verändern sich seine Landschafts- und Gartenbilder hin zu weitgehend abstrakten, flächigen Farbkompositionen. Um 1960 vollzieht sich dann der Schritt zur vollständigen Abstraktion in Form von geometrischen, objektiven Strukturen, die in den Linienbildern münden.
Doch parallel dazu arbeitet der Künstler stets weiter an frei gemalten Landschaften. In den 1980er Jahren entstehen seine ebenfalls als Landschaften zu verstehenden intuitiven Fleckenbilder. Diese weisen enge Parallelen zu den Kreisformen beispielsweise der „Linien Nr. 22“ auf: „Und auch in diesen späten ‚Farblandschaften‘ lassen sich Ähnlichkeiten mit den Linienbildern konstatieren […], in denen die mit Hilfe systematischer Berechnung gefundenen, exakt umrissenen konzentrischen Kreisformen mit den zwar rund geformten, jedoch unregelmäßigen verlaufenden, wie ausgefranst erscheinenden Farbflecken korrespondieren. So zeigt sich, dass es vielfältige Parallelen zwischen den Landschaftsbildern und den systematisch-abstrakten Kompositionen Zdeněk Sýkoras gibt.“ (Richard W. Gassen, in: Zdeněk Sýkora, Retrospektive, Ausst.Kat., Ludwigshafen 1995, S.15)
Oil on canvas 150 x 150 cm. Framed. Signed and dated 'Sykora 82' verso on canvas. Signed, dated and titled 'Sykora 82 Zdeněk Sýkora, Nr.22, 1982' on stretcher and with dimensions. - Minor traces of age.
The present work is registered in the Lenka Sýkorová and Zdeněk Sýkora Archive, Louny.
Provenance
Directly from the artist (1986); private collection, North Rhine-Westphalia
Exhibitions
Bottrop 1986 (Quadrat Bottrop, Josef Albers Museum), Zdeněk Sýkora, Retrospektive, exhib.cat.no.37 (label verso)
Literature
Magazine Opus Musicum 2/2015, Brunn 2015, ill. on magazine cover
Lenka Sýkorová (ed.), Zdeněk Sýkora, Interviews, Prague 2009, p.80 with col.ill. (there titled: Linien Nr.22-399 Punkte)
Galerie Haupstadt Prag (ed.), Zdeněk Sýkora, Retrospektive 1945-95, exhib.cat., Prague 1995, p.76 with col.ill. (there titled: Linien Nr.22-399)
Tschechisches Museum der Künste Prag (ed.), Josef Hlavacek, Die Poesie der Rationalität, Konstruktive Tendenzen in der tschechischen bildenden Kunst der 1960er Jahre, exhib.cat., Prague 1993, p.101 with ill.
Galerie Schoeller (ed.), Erwin Steller, leaflet for the exhibition Konstruierte Unregelmässigkeit, Programmiertes Chaos, Fraktale Geometrie, Dusseldorf 1993, p.4 with ill. no. 6 (there titled: Nr.22)
Kunsthaus der Stadt Brünn (ed.), Zdeněk Sýkora, exhib.cat., Brunn 1988, n.p. with ill. (there titled: Linien Nr. 22 Nulllinien)
Circular shapes and dots in different sizes stretch over the picture plane of ‘Linien Nr. 22’ in manifold constellations, hues of dark blue, shades of grey and brown are dominant with sporadic accents of vibrant colours.
The series of works of the line paintings, created since 1973 and designed with the help of computers, is the best known of Zdeněk Sýkora’s oeuvre. Within this group of works, there are also paintings like ‘Linien Nr. 22’ that appear to contradict the term of the line with regards to its motifs as they solely consist of circles and dots. However, these works follow the same technical and compositional principles as the “classic” line paintings.
Sýkora began his career as a naturalistic landscape painter. During the 1950s, his landscape and garden paintings changed towards mostly abstract, two-dimensional colour compositions. Around 1960, he took the step towards complete abstraction in the form of geometric, objective structures which culminated in the line paintings.
At the same time, however, the artist continued to work on his free-style landscapes. During the 1980s, his intuitive blotch paintings, which can also be understood as landscapes, were created. These show close parallels to the circular shapes of the ‘Linien Nr. 22’, for example, ‘and even in these late “colour landscapes”, similarities with the line paintings can be observed […] in which the precisely outlined concentric circular shapes found with the aid of systematic calculation correspond to the round, but irregularly positioned, seemingly frayed dots of colour. This demonstrates that there are various parallels between the landscape paintings and the systematically abstract compositions of Zdeněk Sýkora. (Richard W. Gassen, in: Zdeněk Sýkora, Retrospektive, (exhib.cat.Ludwigshafen 1995, p.15)
Öl auf Leinwand 150 x 150 cm. Gerahmt. Rückseitig auf der Leinwand signiert und datiert 'Sykora 82'. Auf dem Keilrahmen signiert, datiert und betitelt 'Sykora 82 Zdeněk Sýkora, Nr.22, 1982' sowie mit Maßangaben. - Mit leichten Altersspuren.
Die vorliegende Arbeit ist im Archiv Lenka Sýkorová und Zdeněk Sýkora, Louny, registriert.
Provenienz
Direkt vom Künstler erworben (1986); Privatsammlung, Nordrhein-Westfalen
Ausstellungen
Bottrop 1986 (Quadrat Bottrop, Josef Albers Museum), Zdeněk Sýkora, Retrospektive, Ausst.Kat.Nr.37 (mit rückseitigem Aufkleber)
Literatur
Zeitschrift Opus Musicum 2/2015, Brünn 2015, Abb. auf dem Cover der Zeitschrift
Lenka Sýkorová (Hg.), Zdeněk Sýkora, Interviews, Prag 2009, S.80 mit Farbabb. (dort betitelt: Linien Nr.22-399 Punkte)
Galerie Haupstadt Prag (Hg.), Zdeněk Sýkora, Retrospektive 1945-95, Ausst.Kat., Prag 1995, S.76 mit Farbabb. (dort betitelt: Linien Nr.22-399)
Tschechisches Museum der Künste Prag (Hg.), Josef Hlavacek, Die Poesie der Rationalität, Konstruktive Tendenzen in der tschechischen bildenden Kunst der 1960er Jahre, Prag 1993, Ausst.Kat., S.101 mit Abb.
Galerie Schoeller (Hg.), Erwin Steller, Faltblatt zur Ausstellung Konstruierte Unregelmässigkeit, Programmiertes Chaos, Fraktale Geometrie, Düsseldorf 1993, S.4 mit Abb. Nr.6 (dort betitelt: Nr.22)
Kunsthaus der Stadt Brünn (Hg.), Zdeněk Sýkora, Ausst.Kat., Brünn 1988, o.S. mit Abb. (dort betitelt: Linien Nr. 22 Nulllinien)
Kreisformen und Punkte in unterschiedlicher Größe ziehen sich in vielfältigen Konstellationen über die Bildfläche der „Linien Nr. 22“, dunkle Blau-, Grau- und Brauntöne dominieren, vereinzelt sind leuchtende Farben gesetzt.
Die seit 1973 entstehende, mit Hilfe des Computers konzipierte Werkreihe der Linienbilder ist die bekannteste im Oeuvre Zdeněk Sýkoras. Innerhalb dieser Gruppe gibt es auch Gemälde wie die „Linien Nr. 22“, die in ihrer Motivik dem Begriff der Linie zu widersprechen scheinen, denn sie sind allein aus Kreisen bzw. Punkten zusammengesetzt. Doch folgen diese Werke den gleichen technischen und kompositorischen Prinzipien wie die „klassischen“ Linienbilder.
Sýkora beginnt seine Laufbahn als naturalistischer Landschaftsmaler, in den 1950er Jahren verändern sich seine Landschafts- und Gartenbilder hin zu weitgehend abstrakten, flächigen Farbkompositionen. Um 1960 vollzieht sich dann der Schritt zur vollständigen Abstraktion in Form von geometrischen, objektiven Strukturen, die in den Linienbildern münden.
Doch parallel dazu arbeitet der Künstler stets weiter an frei gemalten Landschaften. In den 1980er Jahren entstehen seine ebenfalls als Landschaften zu verstehenden intuitiven Fleckenbilder. Diese weisen enge Parallelen zu den Kreisformen beispielsweise der „Linien Nr. 22“ auf: „Und auch in diesen späten ‚Farblandschaften‘ lassen sich Ähnlichkeiten mit den Linienbildern konstatieren […], in denen die mit Hilfe systematischer Berechnung gefundenen, exakt umrissenen konzentrischen Kreisformen mit den zwar rund geformten, jedoch unregelmäßigen verlaufenden, wie ausgefranst erscheinenden Farbflecken korrespondieren. So zeigt sich, dass es vielfältige Parallelen zwischen den Landschaftsbildern und den systematisch-abstrakten Kompositionen Zdeněk Sýkoras gibt.“ (Richard W. Gassen, in: Zdeněk Sýkora, Retrospektive, Ausst.Kat., Ludwigshafen 1995, S.15)
Oil on canvas 150 x 150 cm. Framed. Signed and dated 'Sykora 82' verso on canvas. Signed, dated and titled 'Sykora 82 Zdeněk Sýkora, Nr.22, 1982' on stretcher and with dimensions. - Minor traces of age.
The present work is registered in the Lenka Sýkorová and Zdeněk Sýkora Archive, Louny.
Provenance
Directly from the artist (1986); private collection, North Rhine-Westphalia
Exhibitions
Bottrop 1986 (Quadrat Bottrop, Josef Albers Museum), Zdeněk Sýkora, Retrospektive, exhib.cat.no.37 (label verso)
Literature
Magazine Opus Musicum 2/2015, Brunn 2015, ill. on magazine cover
Lenka Sýkorová (ed.), Zdeněk Sýkora, Interviews, Prague 2009, p.80 with col.ill. (there titled: Linien Nr.22-399 Punkte)
Galerie Haupstadt Prag (ed.), Zdeněk Sýkora, Retrospektive 1945-95, exhib.cat., Prague 1995, p.76 with col.ill. (there titled: Linien Nr.22-399)
Tschechisches Museum der Künste Prag (ed.), Josef Hlavacek, Die Poesie der Rationalität, Konstruktive Tendenzen in der tschechischen bildenden Kunst der 1960er Jahre, exhib.cat., Prague 1993, p.101 with ill.
Galerie Schoeller (ed.), Erwin Steller, leaflet for the exhibition Konstruierte Unregelmässigkeit, Programmiertes Chaos, Fraktale Geometrie, Dusseldorf 1993, p.4 with ill. no. 6 (there titled: Nr.22)
Kunsthaus der Stadt Brünn (ed.), Zdeněk Sýkora, exhib.cat., Brunn 1988, n.p. with ill. (there titled: Linien Nr. 22 Nulllinien)
Circular shapes and dots in different sizes stretch over the picture plane of ‘Linien Nr. 22’ in manifold constellations, hues of dark blue, shades of grey and brown are dominant with sporadic accents of vibrant colours.
The series of works of the line paintings, created since 1973 and designed with the help of computers, is the best known of Zdeněk Sýkora’s oeuvre. Within this group of works, there are also paintings like ‘Linien Nr. 22’ that appear to contradict the term of the line with regards to its motifs as they solely consist of circles and dots. However, these works follow the same technical and compositional principles as the “classic” line paintings.
Sýkora began his career as a naturalistic landscape painter. During the 1950s, his landscape and garden paintings changed towards mostly abstract, two-dimensional colour compositions. Around 1960, he took the step towards complete abstraction in the form of geometric, objective structures which culminated in the line paintings.
At the same time, however, the artist continued to work on his free-style landscapes. During the 1980s, his intuitive blotch paintings, which can also be understood as landscapes, were created. These show close parallels to the circular shapes of the ‘Linien Nr. 22’, for example, ‘and even in these late “colour landscapes”, similarities with the line paintings can be observed […] in which the precisely outlined concentric circular shapes found with the aid of systematic calculation correspond to the round, but irregularly positioned, seemingly frayed dots of colour. This demonstrates that there are various parallels between the landscape paintings and the systematically abstract compositions of Zdeněk Sýkora. (Richard W. Gassen, in: Zdeněk Sýkora, Retrospektive, (exhib.cat.Ludwigshafen 1995, p.15)
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