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Max Bill studied at the Bauhaus, under Walter Gropius, as well
as at the Arts and Crafts Academy in Zurich as a silversmith. He
co-founded and directed the Ulm School of Arts and Crafts, then
worked as an architect in Lausanne, then became a professor at the
State School for Fine Arts in Hamburg. Bill exhibited his sculptures
and paintings from 1928 to the 1990s in exhibition spaces worldwide,
and also did important work in printmaking. His work is in most
significant collections of contemporary art.
Bill was active as an architect, painter, graphic artist, and sculptor.
The artist believed that sculpture should take clear, concrete forms,
based on symmetrical growth from a generative core. He felt art
should close the gap between the intellectual and the intuitive.
This print is a typical example of Bills deceptively simple
use of geometrical patterns to express the psychological and expressive
powers of color. Unlike other works in the Homage to Picasso portfolio,
it does not literally reference Picasso.
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CRITICAL EXCERPTS
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Max Bill, "Concrete Art," Max Bill, Albright-Knox
Art Gallery catalog, 1974
"Concrete Art is autonomous in its specificity. It is the expression
of the human spirit, destined for the human spirit, and should possess
that clarity and that perfection which one expects from works of
the human spirit.
...The instruments of this realization are color, space, light,
movement. In giving form to these elements, one creates new realities."
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Richard Hollis, A
Monumental Talent [obituary], in The Guardian, 12/31/94
"Bill's work and writings were to express an enduring debt to
the founding fathers of abstract art who taught at the Bauhaus. Before
the architecture department, he worked in Moholy-Nagy's metal workshop,
with Oskar Schlemmer's theatre group, and in the classes run by Albers,
Kandinsky and Paul Klee." |
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