Positions of concrete art

Folding black and blue
© Lothar Quinte / VG Bild-Kunst, Bonn

Lothar Quinte

Faltbild Schwarz-Blau / Folding black and blue, 1968

Serigraph on canvas
115,5 × 52 × 20 cm

signed , numbered and dated on the reverse: quiinte 68 6/VII
(QUINTL/O 1)

€ 4.500
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Literature: Gert Reisig, Lothar Quinte. Opus. Catalog raisonné of the paintings 1951-2000, Mainz/Munich 2000, No. 68007.

Quinte's early works are determined by the subjective gesture of informality. Over time, the gestural signs gradually calm down and become more concrete, spreading out in the painting as large color tones. The color as a basic material refers to nothing except itself. By subtly applying several color views on top of each other, the artist achieves the impression of flooding color with a vibrating effect that spreads beyond the edge of the picture. Two main phases can be discerned in his further development. Initially, his work is dominated by strictly geometric, ordered color surface paintings. These paintings are characterized by narrow rays of color that traverse the monochrome, darkly held picture surfaces. The fanning out, vibrating color nuances of these so-called Schlitzbilder, which extend into space as folding pictures, reveal superimpositions to Op Art. In terms of content, however, the artist is continuously concerned with the same issues: his color field sounds, the autonomy of color, and the sensual spiritual content of the color effect. Lothar Quinte is considered one of the most successful Op Art artists in Germany. However, he does not have much in common with constructive coolness. While other artists in the field of concrete art responded to the pop era with garish shock colors, his paintings radiate a rather contemplative calm. The constructive forms become a sensual experience.
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