A.P.Polo - Bher

LIMITED EDITION of 50

A P POLO

# 497849

A.P.POLO - BHER

Name: A.P.Polo - Bher by A P Polo Wall Art
Brand: Pictorem
SKU: 497849
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A.P.Polo - "Bher" - Hamburg (Germany) - New Media Art. Abstract, contemporary work that creates the impression of space and depth in a monochrome wa...[+]

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We suggest a thicker 3/16" acrylic for any size over 42 inches to guarantee a straight acrylic, without curvature

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3/16" thickness

1/8" Thickness:

16 x 16 inches

41 x 41 cm

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^$345

20 x 20 inches

51 x 51 cm

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24 x 24 inches

62 x 62 cm

1/8 with 4 metal stand off

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30 x 30 inches

77 x 77 cm

1/8 with 4 metal stand off

^$857

36 x 36 inches

92 x 92 cm

1/8 with 4 metal stand off

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42 x 42 inches

108 x 108 cm

1/8 with 4 metal stand off

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48 x 48 inches

123 x 123 cm

1/8 with 6 metal stand off

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3/16" Thickness:

16 x 16 inches

41 x 41 cm

3/16 with 4 metal stand off

^$479

20 x 20 inches

51 x 51 cm

3/16 with 4 metal stand off

^$624

24 x 24 inches

62 x 62 cm

3/16 with 4 metal stand off

^$801

30 x 30 inches

77 x 77 cm

3/16 with 4 metal stand off

^$1127

36 x 36 inches

92 x 92 cm

3/16 with 4 metal stand off

^$1525

42 x 42 inches

108 x 108 cm

3/16 with 4 metal stand off

^$2386

48 x 48 inches

123 x 123 cm

3/16 with 4 metal stand off

^$2930

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

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A.P.Polo - Bher HD Sublimation Metal print

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

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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.
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ABOUT A P POLO fs
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ABOUT THIS ARTWORK: A.P.POLO - BHER
A.P.Polo - "Bher" - Hamburg (Germany) - New Media Art. Abstract, contemporary work that creates the impression of space and depth in a monochrome way with the skillful use of light and shadow and can be classified as constructivism or concrete art. The German word "braun" probably goes back to a synonymous Indo-Germanic color word bher. The word, related to Old Indo-European ba-bhrú ('red' or 'brown'), denotes a corresponding color in all North and West Germanic languages (Old Saxon, Old High German, and Old English br?n, Old Icelandic br?n-n, New English brown, Dutch bruin, Swedish brun, etc.). In Gothic, as a representative of the East Germanic languages, the corresponding adjective (br?n-s) is not attested, but this may be due to the sparse tradition, namely the fact that the color brown does not occur in the entire New Testament and thus not in the Wulfila Bible, by far the most extensive written testimony of these languages. The Indo-European root bher is also the basis for the names of some brown animals in many Indo-European languages, which have also survived in German, including bear and beaver. Monochromatic painting has been an important component of avant-garde visual art throughout the 20th century and into the 21st century. Painters have created the exploration of one color, examining values changing across a surface, texture, and nuance, expressing a wide variety of emotions, intentions, and meanings in many different forms. From geometric precision to expressionism, the monochrome has proved to be a durable idiom in Contemporary art. Monochrome painting was initiated at the first Incoherent arts' exhibition in 1882 in Paris, with a black painting by poet Paul Bilhaud entitled Combat de Nègres dans un tunnel (Negroes fight in a tunnel). (Although Bilhaud was not the first to create an all-black artwork: for example, Robert Fludd published an image of Darkness in his 1617 book on the origin and structure of the cosmos; and Bertall published his black Vue de La Hogue (effet de nuit) in 1843.) In the subsequent exhibitions of the Incoherent arts (also in the 1880s) the writer Alphonse Allais proposed other monochrome paintings, such as "Première communion de jeunes filles chlorotiques par un temps de neige" ("First communion of anaemic young girls in the snow", white), or "Récolte de la tomate par des cardinaux apoplectiques au bord de la Mer Rouge" ("Tomato harvesting by apoplectic cardinals on the shore of the Red Sea", red). Allais published his Album primo-avrilesque in 1897, a monograph with seven monochrome artworks. However, this kind of activity bears more similarity to 20th century Dada, or Neo-Dada, and particularly the works of the Fluxus group of the 1960s, than to 20th century monochrome painting since Malevich. Jean Metzinger, following the Succès de scandale created from the Cubist showing at the 1911 Salon des Indépendants, in an interview with Cyril Berger published in Paris-Journal 29 May 1911, stated: "We cubists have only done our duty by creating a new rhythm for the benefit of humanity. Others will come after us who will do the same. What will they find? That is the tremendous secret of the future. Who knows if someday, a great painter, looking with scorn on the often brutal game of supposed colorists and taking the seven colors back to the primordial white unity that encompasses them all, will not exhibit completely white canvases, with nothing, absolutely nothing on them. (Jean Metzinger, 29 May 1911)" Metzinger's (then) audacious prediction that artists would take abstraction to its logical conclusion by vacating representational subject matter entirely and returning to what Metzinger calls the "primordial white unity", a "completely white canvas" would be realized two years later. The writer of a satirical manifesto entitled Manifeste de l'école amorphiste, published in Les Hommes du Jour (3 May 1913), may have had Metzinger's vision in mind when the author justified amorphism's blank canvases by claiming 'light is enough for us'.With perspective, writes art historian Jeffery S. Weiss, "Vers Amorphisme may be gibberish, but it was also enough of a foundational language to anticipate the extreme reductivist implications of non-objectivity". In a broad and general sense, one finds European roots of minimalism in the geometric abstractions of painters associated with the Bauhaus, in the works of Kazimir Malevich, Piet Mondrian and other artists associated with the De Stijl movement, and the Russian Constructivist movement, and in the work of the Romanian sculptor Constantin Brâncu?i. Minimal art is also inspired in part by the paintings of Barnett Newman, Ad Reinhardt, Josef Albers, and the works of artists as diverse as Pablo Picasso, Marcel Duchamp, Giorgio Morandi, and others. Minimalism was also a reaction against the painterly subjectivity of Abstract Expressionism that had been dominant in the New York School during the 1940s and 1950s. The wide range of possibilities (including impossibility) of interpretation of monochrome paintings is arguably why the monochrome is so engaging to so many artists, critics, and writers. Although the monochrome has never become dominant and few artists have committed themselves exclusively to it, it has never gone away. It reappears as though a spectre haunting high modernism, or as a symbol of it, appearing during times of aesthetic and sociopolitical upheavals. Monochrome painting as it is usually understood today began in Moscow, with Suprematist Composition: White on White of 1918 by Suprematist artist Kazimir Malevich. This was a variation on or sequel to his 1915 work Black Square on a White Field, a very important work in its own right to 20th century geometric abstraction. In 1921, Constructivist artist Alexander Rodchenko exhibited three paintings together, each a monochrome of one of the three primary colours. He intended this work to represent The Death of Painting. While Rodchenko intended his monochrome to be a dismantling of the typical assumptions of painting, Malevich saw his work as a concentration on them, a kind of meditation on art's essence (“pure feeling”). These two approaches articulated very early on in its history this kind of work's almost paradoxical dynamic: that one can read a monochrome either as a flat surface (material entity or “painting as object”) which represents nothing but itself, and therefore representing an ending in the evolution of illusionism in painting (i.e. Rodchenko); or as a depiction of multidimensional (infinite) space, a fulfillment of illusionistic painting, representing a new evolution—a new beginning—in Western painting's history (Malevich). Additionally, many have pointed out that it may be difficult to deduce the artist's intentions from the painting itself, without referring to the artist's comment.

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