LOT DETAILS

Materials:

acrylic on canvas

Measurements:

47.24 in. (120.00 cm.) (height) by 47.24 in. (120.00 cm.) (width) by 2.36 in. (6.00 cm.) (width)

Markings:

signed and dated 'Fruhtrunk 1974' on the reverse and with direction arrow

Literature:

Günter Fruhtrunk, Günter Fruhtrunk, Catalogue Raisonné of the Paintings, Catalogue Raisonné of the Paintings, 1952 – 1982, 1952 – 1982, p. 409, p. 409, n° 761 with ill., n° 761 with ill., “The picture is now free from the more or less well controlled release of personal, “The picture is now free from the more or less well controlled release of personal, feelings into space and time, feelings into space and time, “according to afore-known rules”� (J. Wissmann), “according to afore-known rules”� (J. Wissmann), free of passion and trying to make the act of creation readable in retrospect., free of passion and trying to make the act of creation readable in retrospect., It is not idealization, It is not idealization, or heroic tension, or heroic tension, or the transfiguration of existence and the, or the transfiguration of existence and the, interpretation of creation in the immaterial or the heavily gesture-laden material, interpretation of creation in the immaterial or the heavily gesture-laden material, which becomes perceptible on the canvas, which becomes perceptible on the canvas, but rather, but rather, a free sense of vision is able to unfold and become manifest.”�, a free sense of vision is able to unfold and become manifest.”�, Günther Fruhtrunk: Not the Language of Formulae, Günther Fruhtrunk: Not the Language of Formulae, But Intensification, But Intensification, page 23, page 23, Günther Fruhtrunk”��s unusually rigorous, Günther Fruhtrunk”��s unusually rigorous, tightly-packed work has its own place within the numerous approaches to post-1945 abstract geometric art. His paintings often display multiple rhythmic striped structures positioned diagonally, tightly-packed work has its own place within the numerous approaches to post-1945 abstract geometric art. His paintings often display multiple rhythmic striped structures positioned diagonally, combining elements of concrete art with visual dynamism. The artist taught at the Academy in his home town of Munich from 1967 onwards, combining elements of concrete art with visual dynamism. The artist taught at the Academy in his home town of Munich from 1967 onwards, and exhibited at the 4th Documenta and 34th Venice Biennale in 1968. After his early death in 1982, and exhibited at the 4th Documenta and 34th Venice Biennale in 1968. After his early death in 1982, he slipped into obscurity for a good while, he slipped into obscurity for a good while, but in recent years he has been increasingly rediscovered by a younger generation of artists., but in recent years he has been increasingly rediscovered by a younger generation of artists., Weißer Hiatus (White Hiatus) from 1974 is characteristic of Fruhtrunk”��s combinations of shapes and colors. The stripes in alternating colors are angled diagonally, Weißer Hiatus (White Hiatus) from 1974 is characteristic of Fruhtrunk”��s combinations of shapes and colors. The stripes in alternating colors are angled diagonally, running from the upper left to the lower right corner of the image. By positioning the stripes somewhat off from the diagonal and slightly varying how symmetrical and regularised they are in terms of width, running from the upper left to the lower right corner of the image. By positioning the stripes somewhat off from the diagonal and slightly varying how symmetrical and regularised they are in terms of width, Fruhtrunk creates the appearance of movement. While the precise, Fruhtrunk creates the appearance of movement. While the precise, opaque color takes on a grounding, opaque color takes on a grounding, constructive function, constructive function, the structure of the stripes remains unfinished. The elongated areas appear to be cut off at the edges of the image, the structure of the stripes remains unfinished. The elongated areas appear to be cut off at the edges of the image, with the structure unwilling to accept the format of the image, with the structure unwilling to accept the format of the image, pushing over the frame. The subtle equilibrium in the image between balanced and dynamic elements plays with the viewer”��s expectations. Fruhtrunk skilfully navigates the thin line between composition and structural resolution of form, pushing over the frame. The subtle equilibrium in the image between balanced and dynamic elements plays with the viewer”��s expectations. Fruhtrunk skilfully navigates the thin line between composition and structural resolution of form, limitation and boundlessness., limitation and boundlessness

Provenance:

Galerie Lahumière, Paris (label on the reverse), acquired from the above by the present owner in 2006