Barth - Untitled

The work is a composition of the abstract genre. Abstract derives from the Latin term “Abstrahere,” which means to extract, to pull out. The process of abstraction, in fact, consists in eliminating the particular and individual aspects of an object to derive a universal concept. From Kandinsky to Mondrian, from Pollock to Miró, many painters pushed the process of abstraction to its limits in their works, paradoxically creating pure forms and pure colors that do not exist in nature or translating their emotions and instinctuality into images.

The painter Barth devoted all his research to the direction of a pure, uncompromising abstraction, which finds its roots in the historical avant-gardes of the early twentieth century, with a particular interest in the work of Kandinsky. As with the Russian master, the purpose of Barth’s painting is to transform the entire reality into a pure perception untainted by any descriptive embellishment. All this requires a considerable operation of abstraction of reality and of perceived things which, paradoxically, leads to reducing the sensible world to the iconic concreteness of pure forms and pure colors. In this particular work, however, Barth still allows himself a small connection with sensory data. Indeed, this work clearly presents the representation of a landscape, even if transfigured in the terms of the abstraction typical of this painter. Thus, the objects, the houses, and the trees are synthesized into patches of pure color, defined by a regular black line. Very particular in the composition of the present painting is the presence of a hint of linear perspective. It is very rare, in fact, to find, in this artist devoted to two-dimensionality, an allusion to spatial depth.

Barth is the pseudonym used by Quinto Bartolomeo, modern art painter and critic. Author of several essays and volumes, he has received many recognitions from the academic world: honorary degree from the International University “Pro Deo” of New York, president of the European Academy of Community Studies, member of the Academic Senate of the International Academy of Modern Art. He is considered the leader of the “Logic of Forms” movement. He has exhibited his works in numerous exhibitions (Stampa Estera, Rome – Galleria San Luca, Venice – Galleria Mouffe, Paris – Galleria Vallobresuse, Palm Beach, Florida – Mirvin Art of New York – Galleria Motte, Geneva – Galleria Modigliani, Milan – Artexpo, New York S. Francisco).

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