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Oro y Cobalto, 1980

Screenprint on paper
21 3/4 × 29 3/4 in
55.2 × 75.6 cm
Bidding closed
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About the work
Provenance
W
Wright

This work is number 11 of 25 artist's proofs aside from the edition of 150.

This work is number 11 of 25 artist's proofs aside from the edition of 150.

Medium
Print
Signature
Signed and numbered to lower margin 'Soto AP 11/25'.
Jesús Rafael Soto
Venezuelan, 1923–2005
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Noted as a defining figure of both the Op Art movement and Kinetic Sculpture, Jesus Rafael Soto employed industrial and synthetic materials such as nylon and steel to produce his trademark sculptural reliefs. Soto’s work dealt with pure abstraction, color theory, and the dynamic between background and foreground, as seen in works such as Vibration Blanc et Jaune (paint on wood and metal, 1959), in which the artist stimulates optical effects through the manipulation of color relationships, combining hurried black lines with interruptions of yellow and white. In the 1950s and ‘60s, Soto collaborated with Group Zero artists, including Otto Piene, Heinz Mack, Gunther Uecker, Yves Klein, Lucio Fontana and Jean Tinguely, who stressed unity on an intellectual and creative level. Soto was also influenced by- and influential to the Russian Constructivists and artist contemporaries such as Piet Mondrian.

Save
Save
view
View in room
share
Share
Save
Save
view
View in room
share
Share
About the work
Provenance
W
Wright

This work is number 11 of 25 artist's proofs aside from the edition of 150.

This work is number 11 of 25 artist's proofs aside from the edition of 150.

Medium
Print
Signature
Signed and numbered to lower margin 'Soto AP 11/25'.
Jesús Rafael Soto
Venezuelan, 1923–2005
Follow

Noted as a defining figure of both the Op Art movement and Kinetic Sculpture, Jesus Rafael Soto employed industrial and synthetic materials such as nylon and steel to produce his trademark sculptural reliefs. Soto’s work dealt with pure abstraction, color theory, and the dynamic between background and foreground, as seen in works such as Vibration Blanc et Jaune (paint on wood and metal, 1959), in which the artist stimulates optical effects through the manipulation of color relationships, combining hurried black lines with interruptions of yellow and white. In the 1950s and ‘60s, Soto collaborated with Group Zero artists, including Otto Piene, Heinz Mack, Gunther Uecker, Yves Klein, Lucio Fontana and Jean Tinguely, who stressed unity on an intellectual and creative level. Soto was also influenced by- and influential to the Russian Constructivists and artist contemporaries such as Piet Mondrian.

Oro y Cobalto, 1980

Screenprint on paper
21 3/4 × 29 3/4 in
55.2 × 75.6 cm
Bidding closed
Want to sell a work by this artist? Consign with Artsy.
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Op Art