Heinz Mack - Blaue Chromatik (Blue Chromatic), 2016

Pastel chalk on handmade paper

65 x 55 cm / framed 77 x 67 cm
25 x 21 inch / framed 30 x 26 inch

Signed and dated centre right "mack 16"

-artists frame -

N 9394   Reserved 

About the work

The colour blue has a relaxing and calming effect. It stands for peace, harmony and contentment and is most people’s favourite colour. The avant garde at the beginning of the 20th century chose the name “Der Blaue Reiter” (The Blue Rider) for its editorial team after the painting of the same name by Wassily Kandinsky from 1903. It presents a mounted hero in an autumn landscape. For him, the colour blue “represents the element of peace […] with great depth. Sinking toward black, it takes on the connotation of non-human sorrow.” For Kandinsky, the colour blue behaves concentrically and retiringly. As a synaesthete, the artist not only ascribed characters to the colours, he could in fact also hear them. The colour blue thus sounded deep and dark to him.
The Swiss painter, art theoretician and Bauhaus instructor Johannes Itten also assigned geometric forms to the primary colours. For him, the colour red represented corporeal matter. It seems static and heavy. He therefore assigned the square form to the colour red. Yellow is combative and aggressive and has a more weightless character. Yellow, for Itten, thus stands for the mind and thought. This character corresponds to the triangle. The colour blue, in contrast, seems round to artists and awakens a feeling of relaxation and movement. It stands for the, as Itten put it, “inherently animated mind”. This attitude and effect correspond to the circle as the symbol of “constant movement”.
When viewing “Blaue Chromatik”, these generally comprehensible characteristics of the colour blue may resonate. Through the various shades of blue and the internal texture of the application of paint, Heinz Mack is successful in allowing blue to appear in immense depth in this pastel. Interestingly, the colour becomes darker toward the top, while the lower edge is kept to a lighter shade. This blue does not lose itself as a result, but instead retains a grounded component.
(Andrea Fink)

Text authored and provided by Dr Andrea Fink, art historian

The art historian, curator and freelance publicist Andrea Fink studied art history, cultural studies and humanities, modern history and philosophy in Bochum and Vienna. Doctorate in 2007 on the work of the Scottish artist Ian Hamilton Finlay. As a freelance curator and art consultant, her clients include, among others, the Kunstverein (art association) Ahlen, Kunstverein Soest, Wella Museum, Museum am Ostwall Dortmund, ThyssenKrupp AG, Kulturstiftung Ruhr, Osthaus Museum Hagen, Franz Haniel GmbH, Kunsthalle Krems, Austria.

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Heinz Mack, Blue Chromatic, 2016, 65 x 55 cm / framed 77 x 67 cm, N 9394
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