A.P.Polo - Rectanomon

LIMITED EDITION of 50

A P POLO

# 487155

A.P.POLO - RECTANOMON

Name: A.P.Polo - Rectanomon by A P Polo Wall Art
Brand: Pictorem
SKU: 487155
Availability: InStock

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LIMITED EDITION of 50

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A.P.Polo - "Rectanomon" - Hamburg (Germany) - New Media Art. Contemporary work that can be attributed to both geometric abstraction and concrete art a...[+]

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Keywords:

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Giclée Canvas Print

All our stretched Canvas are custom made on a Premium Fine Art Matte Canvas 410g/m2 1.5 Inch Thick wood for a real gallery look
Giclee printing with Pigment ink designed to meet galleries and museum longevity requirements and ensure consistency of shades 200 years old. [+]

A.P.POLO - RECTANOMON A P POLO Canvas Print

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Stretched Canvas Print We ship in USA & Canada

Ready to hang - Stretched on 1.5" inch thick pine wood - Gallery style

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A.P.Polo - Rectanomon Split Canvas print

36 x 36 triptych - split canvas
39 x 36 inches including space.
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36 x 36 cross triptych split canvas
39 x 36 inches including space.
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Get a Modern piece of art with this vibrant Acrylic Print.
Fine Art made from a Premium polished, best-in-class, 99.9% optically pure acrylic and the latest Flatbed printing craftmanship.

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Acrylic Print with Floating Frame on the back

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3/16" Thickness:

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77 x 77 cm

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42 x 42 inches

108 x 108 cm

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48 x 48 inches

123 x 123 cm

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Acrylic Print with Stand off

Printed to the edge - Ready to hang - provided with 4 premium polished aluminum stand off ( wall screws and mounting hardware provided )
We suggest a thicker 3/16" acrylic for any size over 42 inches to guarantee a straight acrylic, without curvature

1/8" thickness

3/16" thickness

1/8" Thickness:

20 x 20 inches

51 x 51 cm

1/8 with 4 metal stand off

^$464

24 x 24 inches

62 x 62 cm

1/8 with 4 metal stand off

^$605

30 x 30 inches

77 x 77 cm

1/8 with 4 metal stand off

^$865

36 x 36 inches

92 x 92 cm

1/8 with 4 metal stand off

^$1183

42 x 42 inches

108 x 108 cm

1/8 with 4 metal stand off

^$1952

48 x 48 inches

123 x 123 cm

1/8 with 6 metal stand off

^$2385

3/16" Thickness:

20 x 20 inches

51 x 51 cm

3/16 with 4 metal stand off

^$630

24 x 24 inches

62 x 62 cm

3/16 with 4 metal stand off

^$808

30 x 30 inches

77 x 77 cm

3/16 with 4 metal stand off

^$1138

36 x 36 inches

92 x 92 cm

3/16 with 4 metal stand off

^$1540

42 x 42 inches

108 x 108 cm

3/16 with 4 metal stand off

^$2410

48 x 48 inches

123 x 123 cm

3/16 with 4 metal stand off

^$2958

Multi Panel Acrylic Print

Brushed Metal Print / Smooth White Metal Print

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Brushed Metal Print

Smooth White Metal Print

The areas of the photograph that are white or very light are not printed The white areas appear metallic.
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Brushed Metal Print with Floating Frame on the back

Printed to the edge & Ready to hang a floating frame and hanging wire

Brushed Metal Print with Stand off

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Direct print on metal to provide a white smooth satin finish with controlled light reflection.
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White Metal Print with Floating Frame on the back

Printed to the edge & Ready to hang a floating frame and hanging wire

White Metal Print with Stand off

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Multi Panel Metal Print

HD ChromaLuxe Sublimation High-Gloss Metal Print

A.P.Polo - Rectanomon HD Metal print with Floating Frame on Back

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A.P.Polo - Rectanomon HD Sublimation Metal print

A.P.Polo - Rectanomon HD Sublimation Metal print with Decorating Float Frame (BOX)

Color brilliance, superior durability and archival qualities
This artwork is produced on a dye sublimation Chromaluxe high-definition metal panel

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Sublimation Hi-Gloss White Metal Print with Back frame

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Wood Print

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Printed with UV cured inks providing an incredible high quality printed image which is scratch resistant with colors that will not fade overtime.
White and lighter areas are not printed on the wood, revealing the beauty of the wood’s texture and natural beauty!
Printed on 3/8" (9mm) thick and strong and durable Russian Birch wood which is ready to hang and enjoy! [+]

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A.P.Polo - Rectanomon Picture Frame Printing

Frame model shown: 832-745

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28 x 28"

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28 x 28" Framed Print

Printed Area: 24 x 24"
Total Inside area: 28.00 x 28.00"
White Border: 2" on each side
Frame Width: 1.25" on each side
Total Physical dimension: 29.25 x 29.25"

Frame model: 832-745
Printing method: 1200dpi UV cured ink on fine art matte board
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This artwork is Made with high-quality acrylic Ready to hang.

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ABOUT A P POLO fs
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ABOUT THIS ARTWORK: A.P.POLO - RECTANOMON
A.P.Polo - "Rectanomon" - Hamburg (Germany) - New Media Art. Contemporary work that can be attributed to both geometric abstraction and concrete art and which impresses with a multitude of colour gradients and rectangular structures whose arrangement could be described as ordered chaos. Concrete art was an art movement with a strong emphasis on geometrical abstraction. The term was first formulated by Theo van Doesburg and was then used by him in 1930 to define the difference between his vision of art and that of other abstract artists of the time. "The work of art must be completely conceived and shaped in the mind before it is executed. It must contain nothing of the formal realities of nature, the senses and the feelings. We want to eliminate lyricism, drama, symbolism and so on. The picture must be constructed exclusively from plastic elements, i.e. from surfaces and colours. A picture element has no other meaning than itself. For we have left the time of searching and speculative experiments behind us. In the search for purity, artists were forced to destroy the natural form. Today the idea of the art form is as obsolete as the idea of the natural form. We foresee the time of pure painting. For nothing is more concrete, more real, than a line, a colour, a surface. Concrete and not abstract painting. For the spirit has reached the state of maturity. It needs clear, intellectual means to manifest itself in a concrete way. Colour is the basic substance of painting; it means only itself. Painting is a means of realising thought in a visual way: Every painting is a colour thought. Before the work is transformed into matter, it exists in a complete way in consciousness. It is also necessary that the realisation has a technical perfection equal to that of the mental design. We work with the quantities of mathematics - Euclidean or non-Euclidean - and science, that is: with the means of thought." "Painting is a means of realising thought in an optical way". After his death in 1931, the term was further defined and popularized by Max Bill, who organized the first international exhibition in 1944 and went on to help promote the style in Latin America. The term was taken up widely after World War 2 and promoted through a number of international exhibitions and art movements. Around 1903, a major turning point in art began. Painting and sculpture became increasingly distant from visible reality. Henri Matisse said that when you look at a painting, you have to completely forget what it represents. It is art that grants form, colour and pictorial composition far-reaching autonomy from the representational. This movement away from the world of the visible was called abstraction. It is about concentrating on the essential, the necessary. From 1910 onwards, an art emerged that consistently pursued the path of abstraction. Every remnant of representation, pictorial or figurative, was rejected: "Could such an art - which had obviously become completely independent - still be called an extreme form of abstraction, integral or total abstraction? Was there not something fundamentally new, a complete autonomy of pictorial design?" Wassily Kandinsky stated that art now only followed its own, art-immanent laws. It was an art of pure non-objectivity. Quote: "The new art has brought to the fore the principle that art can only have itself as its content. Thus we do not find in it the idea of anything, but only the idea of art itself, of its self-content. Art's very own idea is its non-objectivity." In 1930, Michel Seuphor had defined the role of the abstract artist in the first issue of Cercle et Carré. It was “to establish, on the foundations of a structure that is simple, severe and unadorned in every part, and within a basis of unconcealed narrow unity with this structure, an architecture which, using the technical means available to its period, expresses in a clear language that which is truly immanent and immutable.” The art historian Werner Haftmann traces the development of the pure abstraction proposed by Seuphor to the synthesis of Russian Constructivism and Dutch Neo-Plasticism in the Bauhaus, where painting abandoned the artificiality of representation for technological authenticity. “In close connection with architecture and engineering, art should endeavour to give form to life itself. The former provided new sources of inspiration as well as new materials – steel, aluminium, glass, synthetic materials.” As van Doesburg had pointed out in his manifesto, in order to be universal, art must abandon subjectivity and find impersonal inspiration purely in the elements of which it is constructed: line, plane and color. Some later artists associated with this tendency, such as Victor Vasarély, Jean Dewasne, Mario Negro and Richard Mortensen, only came to painting after first studying science. Nevertheless, all theoretical advances seek justification in past practice, and in this case the mathematical proportions expressed in abstract form are to be identified in various art forms over millennia. Thus, argued Haftmann, “the elimination of representational images and the overt use of pure geometry do not imply a radical and definitive rejection of the great art of the past, but rather a reassertion of its eternal values stripped of their historical and social disguises.” While Abstraction-Création was a grouping of all modernistic tendencies, there were those within it who carried the idea of mathematically inspired art and the term ‘concrete art’ to other countries when they moved elsewhere. A key figure among them was Joaquin Torres García, who returned to South America in 1934 and mentored artists there. Some of those went on to found the group Arte Concreto Invención in Buenos Aires in 1945. Another was the designer Max Bill, who had studied at the Bauhaus in 1927-9. After returning to Switzerland, he helped organize the Allianz group to champion the ideals of Concrete Art. In 1944 he organized the first international exhibition in Basle and at the same time founded abstract-konkret, the monthly bulletin of the Gallerie des Eaux Vives in Zurich. By 1960 Bill was organizing a large retrospective exhibition of Concrete Art in Zürich illustrating 50 years of its development. In 1949, Max Bill formulated the goal of Concrete Art in his introduction to the catalogue of the Zurich Concrete Art exhibition: "The goal of Concrete Art is to develop objects for intellectual use, in a similar way to how man creates objects for material use. In its ultimate consequence, concrete art is the pure expression of harmonious measure and law. It orders systems and gives life to these orders by artistic means".

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