44. Park [1956.]

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44. Park [1956.]

Albert Kinert

1919, Vinkovci - 1987, Zagreb

Estimate:

EUR 2.000 - 4.000

Sold

EUR 6.500

oil on canvas, 77 x 69 cm, signed upper right, in black, "A. Kinert"

Research information

The work is reproduced in the monograph 'Kinert', Mala likovna Biblioteka, Naprijed, Zagreb, 1963 under catalogue number 10, 'Parka'. The work was exhibited at the monographic exhibition of Ivo Korbler, 'Albert Kinert', Moderna galerija in Zagreb, June 07 - July 08, 2018 and reproduced in the exhibition catalogue under catalogue number 47, 'Parka'.

Albert Kinert was born in Vinkovci in 1919, and graduated from the Academy of Fine Arts in Zagreb in 1946. From 1961 to 1984, he was a professor at the same Academy of Fine Arts where in 1969 he founded postgraduate studies for graphics. He died in Zagreb, 1987. The basis of his oeuvre are the relationships of intense colors, often applied in patches, which contributed to the Informal art currents after the Second World War, and a refined graphic manner in which he shapes irregular fields. He is interested in their interrelationship as well as the relationship of purified artistic elements in the composition as a whole. Therefore, in his creation, references became rarer, already from the 1950s. He later returned to objectivity and narrative in painting, subordinating them to the play of form and the study of various possibilities that form can provide. He left behind an equally rich painting and graphic oeuvre. Kinert's Composition from 1956 is an abstract canvas whose very intense impression is based on the contrast and harmony of a yellow background and irregular shapes of dark color, enlivened by coloristic accents. Comparable with some of Kinert's abstract paintings like Yellow Lake in the NMMU in Zagreb, this canvas is a good demonstration of his research in the language of painting in the period of post-war modernism. Without giving up either colorism or more aggressive, expressive potentials of the picture, Kinert here shows himself to be a master of balancing, and not only elements of form but also expectations we have of painting within oppositions of classical and modernist positions. Or, in other words: here we can see a reconciliation of the harmony and agitation of the picture. (F.G.)

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