13 Richard Anuszkiewicz (b. 1930) Untitled, 1975 acrylic/canvas, 122 x 153 cm == sync, corrected by elderman == @elder_man On the reverse a sticker from Wigmore Fine Arts, New York ID: 176657 Taxes and fees - In addition to the hammer price, the successful bidder agrees to pay us a buyer's premium on the hammer prices of each lot sold. On all lots we charge 20 % of the hammer price. - To this lot we apply 'artist&s owe right' (&#xx27;droit de suite&#xi27;) fee. Royalties are calculated using a sliding scale of percentage of the hammer price. Provenance private collection, USA Wigmore Fine Arts, New York private collection, Poland DESA Unicum, 2023 private collection, Poland Literature David Madden / Nicholas Spike, Anuszkiewicz: Paintings and Sculpture 1945-2001, Catalogue Raisonne, Florence 2010, position 1975.12 Exhibited Global Exchange. Geometric Abstraction since 1950, Museo de Arte Contemporáneo de Buenos Aires, Bueno's Aire, 8.11.2014-4.01.2015 More information Between Lina and Color Richard Anuszkiewicz studied at the Cleveland Institute of Art in Ohio in 1948-53. He then graduated from the Faculty of Art and Architecture at Yale University. The subject of his master's thesis was the creation of space by drawing a line. These observations were the basis of his work of painting, which took place in the early 1960s, in which he paid particular attention to the apparent movement of geometric figures in space. At the same time he used diagonally arranged color and suggested the existence of movement within compositions with pulsating planes. At the same time, in these works, Anuszkiewicz became more and more distant from the influences of Albers' work, seeking color interactions to deepen the relationship between lines and space. It was in the artist's paintings that the regular figures almost crossed out, which created characteristic geometrized forms. Their poetry was also emphasized by the cost-effectively used colors, individualized in tones, present in the form of long lines, creating an impression of light radiation. Almost immediately after my arrival in New York, I was subjected to two strong inspirations on the one hand of Albers, whose art was very dynamic for me, from the other abstract expressionism, reigning at that time in the New York galleries. At that time, I was extremely excited to be able to live in New York City. I watched the canvas, among others, by Stuart Davis, the first American to use such a strong color, his art fascinated me. I'm still going to see his work at Downtown Gallery. For the first time, I had the opportunity to watch the live works of Shahn and Kuniyoshi. I was also interested in painting Cézanne and Impressionists, Bonnard and Matisse. The possibility to visit the Museum regularly from Modern Art was an amazing advantage for me in my life in New York City. When I first saw Paul Klee's work there, some of my own ideas made more sense. (...) I was ready. I came to New York with an important intention to work. I was ready to try my best in galleries because I had something. I had an idea. I had a series of works that visualized him. I felt like this was exactly where I was supposed to be. I remember when I came back from traveling across Europe and North Africa, I showed my work in galleries and collected positive comments from people from different backgrounds. Abstract expressionism was very popular at the time. What I was doing at the time was diametrically different sharp edges and innovative use of color. Richard Anushkiewicz The colour of the presented image is limited to four colours: red, green, yellow and blue, which are the most optimal combination for the artist. The geometric forms shown within the composition are also constructed by means of lines. Anuszkiewicz uses the variety of combinations of enhanced colours in order to achieve the final living matter of the image remaining in constant tension between two- and three-dimensionality. Thus the image almost seems to pulsate with light, the source of which is inside the composition. The characteristic lines of Anuszkiewicz are extremely precise and clean, and properly paired together they create hypnotic effects written in color gradation. Anuszkiewicz's position as the master of the op-art established his participation in the exhibition "The Responsive Eye" in the New York MoMA in 1965. The cooperation with Sidney Janis Gallery, with which the most prominent contemporary artists such as Albers, Gorky, de Koonig, Kline, Motherwell, Pollock and Rothko were associated, proved equally important. For the next two years the exhibition traveled across the United States, establishing the position of Anuszkiewicz in the canon of the most important American creators of this period. In the mid-1980s, the artist's name was mentioned by American critics at that time in the lead of artists alongside Mondrian, Malewicz, Albers, as well as Monet, Seurat or Marisse, with special recognition for his approach to creating the space between the line and the color.