Hans Hofmann: The Gate, 1959–60 and Golden Rectangles.
Hans Hofmann: The Gate, 1959–60. Oil on
canvas, 75 1/8 x 48 1/2 inches
The Gate was painted in 1959–60 as part of a series of works loosely devoted to architectonic volumes. Hofmann used rectangles of color to reinforce the shape of his essentially unvarying easel-painting format. Although The Gate is subjectless, Hofmann insisted that, even in abstraction, students should always work from nature in some form. With determination, a viewer can see that the complex spatial relationship established by the floating planes of color begins to resemble the gate of the title.
Solomon R. Guggenheim Museum.
Hans Hofmann (March 21, 1880 – February 17,
1966) was a German-born American
abstract expressionist painter.
According to the Hofmann biography at the Tate Gallery website, Hofmann's work is distinguished by "a rigorous concern with pictorial structure, spatial illusion, and color relationships."
The Guggenheim Collection's information on Hofmann states that his "completely abstract works date from the 1940s". Hofmann believed that abstract art was a way to get at what was really important.
Wikipedia, Hans Hofmann.
Abstract expressionism was an American post-World War II art movement. It was the first specifically American movement to achieve worldwide influence and put New York City at the center of the western art world, a role formerly filled by Paris.
Wikipedia, Abstract expressionism.
A kaleidoscope is a tube of mirrors containing loose coloured beads, pebbles, or other small coloured objects. The viewer looks in one end and light enters the other end, reflecting off the mirrors. For a 2D symmetry group, a kaleidoscopic point is a point of intersection of two or more lines of reflection symmetry. In the case of a discrete group the angle between consecutive lines is 180°/n for an integer n≥2. At this point there are n lines of reflection symmetry, and the point is a center of n-fold rotational symmetry. Source:
Geometric abstraction is a form of abstract art based on the use of geometric forms sometimes, though not always, placed in non-illusionistic space and combined into non-objective (non-representational) compositions.