{"id":5727,"date":"1994-12-16T10:11:28","date_gmt":"1994-12-16T09:11:28","guid":{"rendered":"http:\/\/kunstmuseum.mscg-it.de\/?post_type=exhibition&#038;p=5727"},"modified":"2021-12-09T14:52:41","modified_gmt":"2021-12-09T13:52:41","slug":"bart-van-der-leck-maler-der-moderne","status":"publish","type":"exhibition","link":"https:\/\/www.kunstmuseum.de\/en\/exhibition\/bart-van-der-leck-maler-der-moderne\/","title":{"rendered":"Bart van der Leck. Maler der Moderne"},"content":{"rendered":"\n<div class=\"wp-container-1 wp-block-group alignfull has-gray-background-color has-background\">\n<div class=\"wp-block-columns\">\n<div class=\"wp-block-column\" style=\"flex-basis:66.66%\">\n<h2>Info<\/h2>\n\n\n\n<p>Bart van der Leck (born in Utrecht in 1876) was one of those artists \u2013 alongside Frank Kupka, Kazimir Malevich and Piet Mondrian \u2013 who in the early twentieth century made the transi\u00adtion from figura\u00adtive painting, by way of ornamental styliz\u00ada\u00adtion, to geometrical abstrac\u00adtion. Now, thirty-five years after his death, Bart van der Leck is still relatively unknown as a painter \u2013 although, alongside Piet Mondrian an d Theo van Doesburg, he is regarded as one of the major figures in the De Stijl group of artists.<\/p>\n\n\n\n<!--more-->\n\n\n\n<p>In colla\u00adbo\u00adra\u00adtion with the Rijks\u00admu\u00adseum Kr\u00f6ller-M\u00fcller in Otterlo, the Kunst\u00admu\u00adseum Wolfsburg is now showing a wide and repre\u00adsen\u00adta\u00adtive selection of his work in man different fields. The exhibi\u00adtion is struc\u00adtured chrono\u00adlo\u00adgi\u00adcally, to make clear the parallels between his different activi\u00adties: he painted, drew, practised typography, worked in the craft field, designed a large stained-glass window, and produced many ideas and plans for the use of colour in architecture.<\/p>\n\n\n\n<p>Bart van der Leck\u2019s work has a great openness and acces\u00adsi\u00adbi\u00adlity. Without ever allowing themselves to be pinned down to a single inter\u00adpre\u00adta\u00adtion, his colours and forms, dimen\u00adsions and materials form a striking unity and an entirely natural-seeming harmony with imaginary worlds on the border\u00adline between figura\u00adtion and abstraction.<\/p>\n\n\n\n<p>He belonged to a genera\u00adtion that was acutely aware of the deep-seated changes that came with the turn of the century: the growth of locali\u00adties into great cities, and the drift of great sections of the popula\u00adtion away from the country\u00adside. Trams, motor vehicles and aircraft became part of everyday life; speed and motion came to be taken for granted. New forms of commu\u00adni\u00adca\u00adtion, such as the telephone, the radio and an ever more-active press, brought the world\u2019s events closer together and greatly accele\u00adrated the spread of infor\u00adma\u00adtion and knowledge. People now had different expec\u00adta\u00adtions of homes, work, leisure, recrea\u00adtion and life itself, and all this demanded a different&nbsp; and more oen archi\u00adtec\u00adture. New techni\u00adques of building allowed cities to expand rapidly. Bart van der Leck was a close observer of this process. He saw people and the things around them; he saw the markets in the great cities, and workers at the factory gate at the end of a shift; he saw the leave-takings that the new means of transport, such as railways and aircraft, brought into people\u2019s lives. But he also saw Nature and respected its sublimity, which moved him as deeply as it did Van Gogh or any of the other artists of the previous generation.<\/p>\n\n\n\n<p>The specific character of Bart van der Leck\u2019s work lies in his quest for a balance between the incre\u00ada\u00adsingly ominous weight of the masses, on the one hand, and the indivi\u00addual with his everyday concerns, on the other. The old life and the new slide in front of each other like screens of gauze. Details fade into the background (which is often white), and what remains is a painting that is no&nbsp; longer anchored but nevertheless remains acces\u00adsible, open to new&nbsp;ideas.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column\" style=\"flex-basis:33.33%\"><\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Info Bart van der Leck (born in Utrecht in 1876) was one of those artists \u2013 alongside Frank Kupka, Kazimir Malevich and Piet Mondrian \u2013 who in the early twentieth century made the transi\u00adtion from figura\u00adtive painting, by way of ornamental styliz\u00ada\u00adtion, to geometrical abstrac\u00adtion. Now, thirty-five years after his death, Bart van der&nbsp;Leck&nbsp;[\u2026]<\/p>\n","protected":false},"featured_media":0,"menu_order":0,"template":"","meta":{"wp_typography_post_enhancements_disabled":false,"kunstmuseum_formatted_page_title":"","exhibition_title":"Bart van der Leck","exhibition_subtitle":"Maler der Moderne","exhibition_alternative_text":"","exhibition_start_date":"1994-12-16T10:47:00","exhibition_end_date":"1995-02-26T10:47:00","exhibition_gallery":"","exhibition_poster":0},"tags":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v19.4 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Bart van der Leck. 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