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拍品专文
In the course of 1917 Van der Leck became more focused on the structure of his compositions. He distributed his colours over the picture plane according to an imaginary scheme of horizontal, vertical, and diagonal lines. In these years his paintings lost the resemblance with his original starting point on the visible world. As Bart van der Leck stated in his exhibition catalogue from 1919: '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.'
The present work has always been in the collection of the artist and stayed in his family until now. As the work is not signed and dated Oxenaar was the first to mention that it might have been painted in 1919 and named it Compositie 1919. It is not unlikely however, that the work is originally from 1917. The catalogue of the solo- exhibition at the Stedelijk Museum Amsterdam in 1949 mentions a Compositie R from 1917 with the exact same size as the present painting. The letter R makes it likely to connect it with the red diamond, called 'ruit' in Dutch. Feltkamp included a work Compositie from 1917 with the same size as the present lot in his biography of 1956. For Oxenaar and Hilhorst however the date of 1919 seems more likely as Van der Leck moved to his new, partially own designed, house in Blaricum at the Eemnesserweg in 1919. The location of the window and the door in the south wall of his studio corresponded with the thin white lines in the present painting. On the white background he projected a central diamond shape, flanked by three small vertical stripes. No other (paper) designs for this project are known to us. It shows Van der Leck's ability to unite painting and interior and proves how far he went to integrate painting for monumental use. Since no photo material of the wall painting is known, it is not certain whether it was actually executed.
Compositie 1919 must have been one of the pieces Van der Leck was working on in the period of his untimely break with the avantgarde journal De Stijl. In October 1917, after a long delay caused by financial complications, the first issue of De Stijl, carrying an article by Van der Leck on modern painting and its relationship to architecture, finally appeared in print. (see: De Stijl, 1 (1918) pp. 37-38) In his second and last article published in the third issue of De Stijl, he again wrote a passionate plea for painters to be more involved with architecture. His break with De Stijl mainly stemmed from differences of opinion about art as such.
Most members of the De Stijl group, including: Theo van Doesburg (1883-1931), Vilmos Huszar (1884-1960), and Piet Mondriaan (1872-1944), were often involved in architectural projects. It must have been Van der Leck who stimulated Mondriaan with the idea of integrating painting and architecture. Given the profound concentration with which Mondriaan furnished and decorated his studio, he obviously took it very much at heart.
(See: C. Hilhorst, 'An important collection of works by Bart van der Leck', in: Christie's, Amsterdam, 4 December 2001, p. 16).
The present work has always been in the collection of the artist and stayed in his family until now. As the work is not signed and dated Oxenaar was the first to mention that it might have been painted in 1919 and named it Compositie 1919. It is not unlikely however, that the work is originally from 1917. The catalogue of the solo- exhibition at the Stedelijk Museum Amsterdam in 1949 mentions a Compositie R from 1917 with the exact same size as the present painting. The letter R makes it likely to connect it with the red diamond, called 'ruit' in Dutch. Feltkamp included a work Compositie from 1917 with the same size as the present lot in his biography of 1956. For Oxenaar and Hilhorst however the date of 1919 seems more likely as Van der Leck moved to his new, partially own designed, house in Blaricum at the Eemnesserweg in 1919. The location of the window and the door in the south wall of his studio corresponded with the thin white lines in the present painting. On the white background he projected a central diamond shape, flanked by three small vertical stripes. No other (paper) designs for this project are known to us. It shows Van der Leck's ability to unite painting and interior and proves how far he went to integrate painting for monumental use. Since no photo material of the wall painting is known, it is not certain whether it was actually executed.
Compositie 1919 must have been one of the pieces Van der Leck was working on in the period of his untimely break with the avantgarde journal De Stijl. In October 1917, after a long delay caused by financial complications, the first issue of De Stijl, carrying an article by Van der Leck on modern painting and its relationship to architecture, finally appeared in print. (see: De Stijl, 1 (1918) pp. 37-38) In his second and last article published in the third issue of De Stijl, he again wrote a passionate plea for painters to be more involved with architecture. His break with De Stijl mainly stemmed from differences of opinion about art as such.
Most members of the De Stijl group, including: Theo van Doesburg (1883-1931), Vilmos Huszar (1884-1960), and Piet Mondriaan (1872-1944), were often involved in architectural projects. It must have been Van der Leck who stimulated Mondriaan with the idea of integrating painting and architecture. Given the profound concentration with which Mondriaan furnished and decorated his studio, he obviously took it very much at heart.
(See: C. Hilhorst, 'An important collection of works by Bart van der Leck', in: Christie's, Amsterdam, 4 December 2001, p. 16).