Having drawn and painted for over 50 years now, always professionally, even as a child, I want to talk about the state of art today, as I see it.
When I first considered Fine Art, I was only 13 years old. My first encounter with that world was, like others of my generation, was Vincent van Gogh and then the Impressioniss and post impressionists like Seurat and Lautrec. We saw the speed with which stylistic acceptance came and went. Why, we entered the New York International Art Market in 1965, when Leo Castelli was showing Claus Oldenburg and Robert Wesselman, Roy Lichtenstein and Victor Vasarely!
Downtown, La Guardia Place, east of New York University, Park Place Gallery opened, featuring the first ever seen Minimalists, like Frank Stella. It was very exciting.
The Museum of Modern Art opened a show called "The Responsive Eye" in the midst of this Pop rage and Minimalist Avante Garde; the show was dedicated to hard edge Optical Art. The most important thing, overall was that Abstract Expressionism had been sent packing, and Modern Art was alive and well. May I say, it still is.
Today I still work in a style I developed by deducing the basic shapes that appeared in my art for the four to five years earlier. I found one element in a figurative painting "Portrait of M. Pavao" from 1967 (Collection Michael Moscowitz, NYC). It was an abstracted olive branch. I made study after study, taking my boards from London, to Amsterdam, then Delft, then to Paris and back to Holland and the Princeneiland. There I kept on and the work I developed was my answer to the internationalism of Mondrian, and its demand on all conscientious artists who believe they have a duty to answer the world's constant need for art that is forever current and timely.
My training was in classical drawing which enabled me to create a "grammar" by which I used color and space, all in a 2-dimensional world, and in which I have eliminated the positive and negative as well as the cool and warm constraints of colors, the yield is a true surface decorum. It is non symetrical.
At the beginning of the 20th century an imperitive went out that photography had taken away all the jobs formerly done by artists. Painters would have to bark up a new tree. Genius like that of Piet Mondrian of Holland came up with a truly international look in 1911. He formed a group, De Stijl, meaning "The Style. He created a language of horizontal and vertical lines that could be arranged indefinitely with equal variety of applied colors. This movement produced the Bauhaus as the co-founder of De Stijl, Theo Van Doesburg, travelled to Germany before WWI began, and from his lectures came the world famous Bauhaus. The Bauhaus emphasized the use of Diagonal lines which infuriated Mondrian and caused a literal schism in northern modern art. It also gave birth to German Expressionism.
Art was and can be a powerful force in the world dynamic, but it must live where the people dwell and endeavor to enlighten the populace about refinements in culture that bring about marvelous changes in personal attitude and behavior. More soon............