Jo Niemeyer, Spiral Blue 94-50, 1994, Acrylic

Details

Description

Object: Sculpture

Artist: Jo Niemeyer, born 1946

Publisher: Edition Partanen, Germany

Title: Spirale Blue 94-50

Number/Edition: No. 68 of 95 … Read more Object: Sculpture

Artist: Jo Niemeyer, born 1946

Publisher: Edition Partanen, Germany

Title: Spirale Blue 94-50

Number/Edition: No. 68 of 95 copies

Signed: "Niemeyer"

Year: 1994

Dimensions: 12 cm x 12 cm x 49.5 cm

Condition: Very good original condition

Condition report: The object is in overall good, authentic condition with signs of age and use. The edge of the blue area shows slight, partial wear.

There is a scratch in the acrylic glass, which is not clearly visible in the photographs. The joint between the two acrylic glass elements shows signs of age and use resulting from repeated assembly.

Overall, the existing signs of wear remain subtle and are consistent with the age and use of the object.

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About the object:

The slender acrylic glass sculpture combines transparency with clearly defined color fields in blue, red, yellow, and black. The layering of transparent planes alters perception depending on the viewing angle, allowing color, space, and proportion to interact.

The strict geometric order and the focus on a limited color palette are characteristic of Jo Niemeyer's constructive visual language and his exploration of mathematical proportions and Concrete Art.

The work's particular appeal lies in Niemeyer's transfer of his otherwise often two-dimensional conception of order into three-dimensional space. Here, color is not merely seen, but constantly recomposed through transparency, distance, and perspective. This gives the sculpture a surprisingly vibrant effect despite its strict geometry.

About the artist:

Jo Niemeyer is one of the leading German representatives of Concrete Art, whose work consistently engages with geometric order, proportion, and mathematical structures. Since the 1970s, he has developed works in which line, surface, color, and distance are organized not intuitively, but according to clearly defined systems. The Golden Ratio plays a central role in this, which Niemeyer uses as a design and structural principle in numerous works.

His art thus stands in the tradition of geometric modernism, but develops its ideas in his own unique way. While Piet Mondrian sought a universal pictorial harmony from horizontal and vertical lines and primary colors, Niemeyer often bases his compositions on a mathematically comprehensible system of order. The similarity lies in the reduction to elementary forms and colors; the difference in the method.

It is precisely this combination of visual clarity and mathematical precision that characterizes Niemeyer's work. His works have an immediate impact, yet are based on a rigorously conceived internal order. In this way, they occupy a unique position between Concrete Art, constructivist design, and mathematical aesthetics.

Niemeyer's works have been exhibited internationally and are held in important collections, including the MoMA in New York, the Pinakothek der Moderne in Munich, the Bauhaus Archive in Berlin, and the Museum of Concrete Art in Ingolstadt. The presentation of his work at the Mondriaanhuis in Amersfoort also underscores the art-historical affinity of his oeuvre to the tradition of De Stijl and geometric abstraction. This piece has an attribution mark,
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