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Hildegarde HaasAbstract Composition Inspired by Bach, Framed Abstract Watercolor Painting, Pink
About the Item
Original vintage watercolor painting by twentieth century San Francisco woman artist, Hildegarde Haas (1926-2002). "Bach - English Suite No.2 in A Minor - V Bourree" is a non-objective abstract painting from the artist's Classical music series. Dominant coloring includes red/magenta, yellow, orange, blue and pale green. Signed by the artist, lower right and titled lower left. Presented in a custom frame, outer dimensions measure 19 ¼ x 22 ¾ x ¾ inches. Image size is 11 ½ x 15 ½ inches.
Painting is clean and in very good vintage condition - please contact us for a complete condition report.
Expedited and international shipping is available - please contact us for a quote.
About the Artist:
Haas studied at the University of Chicago, the Colorado Springs Fine Arts Center under Vaclav Vytacil and the Art Students League. Haas relocated to California in the 1950s where she was a member of the San Francisco Art Association, the Art and Crafts Co-op of Berkeley and the Oakland Art Association. Haas had a conditon known as Synesthesia - a perceptual phenomenon in which stimulation of one sensory or cognitive pathway leads to automatic, involuntary experiences in a second sensory or cognitive pathway. She used this in her art to translate music into visual works of art.
- Creator:Hildegarde Haas (1926 - 2002, American)
- Dimensions:Height: 19.25 in (48.9 cm)Width: 22.75 in (57.79 cm)Depth: 0.75 in (1.91 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:very good to excellent vintage condition.
- Gallery Location:Denver, CO
- Reference Number:
About the Seller
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- ShippingRetrieving quote...Ships From: Denver, CO
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- 1950s Abstract Composition in Brown, Orange and Blue with Black Parallel LinesBy Herbert BayerLocated in Denver, COWatercolor and ink on paper of an abstract composition of brown, orange and blue shapes between black parallel lines throughout the the piece by Herbert Bayer (1900-1985). Presented in a custom black frame with all archival materials. Framed dimensions measure 17 ⅞ x 22 ⅝ x 1 inches. Image size is 10 ¼ x 15 ½ inches. Painting is clean and in very good condition - please contact us for a detailed condition report. Expedited and international shipping is available - please contact us for a quote. About the Artist: Herbert Bayer enjoyed a versatile sixty-year career spanning Europe and America that included abstract and surrealist painting, sculpture, environmental art, industrial design, architecture, murals, graphic design, lithography, photography and tapestry. He was one of the few “total artists” of the twentieth century, producing works that “expressed the needs of an industrial age as well as mirroring the advanced tendencies of the avant-garde.” One of four children of a tax revenue officer growing up in a village in the Austrian Salzkammergut Lake region, Bayer developed a love of nature and a life-long attachment to the mountains. A devotee of the Vienna Secession and the Vienna Workshops (Wiener Werkstätte) whose style influenced Bauhaus craftsmen in the 1920s, his dream of studying at the Academy of Art in Vienna was dashed at age seventeen by his father’s premature death. In 1919 Bayer began an apprenticeship with architect and designer, Georg Schmidthamer, where he produced his first typographic works. Later that same year he moved to Darmstadt, Germany, to work at the Mathildenhöhe Artists’ Colony with architect Emanuel Josef Margold of the Viennese School. As his working apprentice, Bayer first learned about the design of packages – something entirely new at the time – as well as the design of interiors and graphics of a decorative expressionist style, all of which later figured in his professional career. While at Darmstadt, he came across Wassily Kandinsky’s book, Concerning the Spiritual in Art, and learned of the new art school, the Weimar Bauhaus, in which he enrolled in 1921. He initially attended Johannes Itten’s preliminary course, followed by Wassily Kandinsky’s workshop on mural painting. Bayer later recalled, “The early years at the Bauhaus in Weimar became the formative experience of my subsequent work.” Following graduation in 1925, he was appointed head of the newly-created workshop for print and advertising at the Dessau Bauhaus that also produced the school’s own print works. During this time he designed the “Universal” typeface emphasizing legibility by removing the ornaments from letterforms (serifs). 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Anderson, founder of the Atlantic Richfield Company who became very active in the Aspen Institute. Bayer later designed Anderson’s terrace home in Aspen (1962) and a private chapel for the Anderson family in Valley Hondo, New Mexico (1963). Transplanting German Bauhaus design to the Colorado Rockies, Bayer created along with associate architect, Fredric Benedict, a series of buildings for the modern Aspen Institute complex: Koch Seminar Building (1952), Aspen Meadows guest chalets and Center Building (both 1954), Health Center and Aspen Meadows Restaurant (Copper Kettle, both 1955). For the grounds of the Aspen Institute in 1955 Bayer executed the Marble Garden and conceived the Grass Mound, the first recorded “earthwork” environment In 1973-74 he completed Anderson Park for the Institute, a continuation of his fascination with environmental earth art. 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