“Polygone 1.33”

2014 | Oilpainting/mixed media | 180x100cm | Private Collection

Introduction

The artwork titled Polygone 1.33 is an intriguing mixed-media piece that explores the interaction between classical references and contemporary abstraction. It is an oil painting on panel, incorporating a printed reproduction of a Hendrick Goltzius engraving, layered with additional painted elements and raised circular forms. This eclectic combination of materials and imagery immediately draws the viewer into a meditation on themes of history, perspective, and the dynamic relationship between the old and the new.

Visual Analysis

The composition of Polygone 1.33 is divided into multiple distinct sections, each adding a unique layer to the painting’s narrative. The left side of the panel features a classical engraving by Hendrick Goltzius, while the central and right portions are dominated by geometric lines, vibrant colors, and circular cutouts. The use of strong red and white linear patterns creates a striking visual contrast with the delicate tonal quality of Goltzius’ engraving, resulting in a complex visual dialogue.

Left Panel: Goltzius Print

The left portion of the artwork incorporates a printed reproduction of an engraving by Hendrick Goltzius, a renowned Dutch printmaker from the late 16th century known for his mastery of line and form. This classical reference introduces an element of historical continuity and grounds the composition in an artistic tradition. The engraving depicts a tender moment of the Holy Family, which could represent themes of nurture and human connection, juxtaposed against the abstract, almost mechanistic elements on the rest of the panel.

The inclusion of Goltzius’ print is significant—it serves as a reminder of the past and its influence on the present, especially in an era of rapid digital reproduction. The intricate lines of the engraving contrast sharply with the geometric abstractions and contemporary interventions, creating a narrative of convergence between classical beauty and modern aesthetics.

Central and Right Panels: Geometric and Abstract Elements

The central part of the painting features a series of white geometric lines, arranged over a bold red background. These lines create a complex web-like structure, which draws the viewer’s eye towards the circular elements that appear to float across the surface. The red background serves as a powerful visual anchor, evoking emotions of intensity, passion, or perhaps even conflict. Within the red circle at the center, softly painted clouds and distant mountains are rendered in subdued, cool colors, suggesting an abstracted landscape that contrasts with the boldness of the rest of the panel.

To the right, a sequence of raised circular forms intersects with the edge of the geometric structure. These circles are layered onto the panel, adding a physical dimension to the otherwise two-dimensional space. Upon close inspection, these circles reveal snippets of classical imagery, intricate details of clothing, and parts of a woman’s profile. The selective fragments of classical paintings presented within the circles appear almost like glimpses into a different world, reminding the viewer of the fragmented nature of history and how it is continually reconstructed.

Materiality and Layers

The mixed-media approach of Polygone 1.33 adds significant depth to the artwork. The layering of different materials—print, oil paint, and three-dimensional circular elements—emphasizes the idea of multiple layers of meaning. The circles, lying atop the surface, create a sense of depth and an almost sculptural quality to the painting. The act of physically layering these elements onto the panel underscores the way history, memory, and perception are all layered upon each other in the creation of cultural identity.

Historical Context

Polygone 1.33 draws heavily on art historical references, particularly through its use of the Goltzius print. Hendrick Goltzius was a master of engraving, known for his detailed and emotive portrayals of mythological and biblical scenes. By incorporating Goltzius’ work into this modern piece, the artist bridges the gap between the Renaissance-era reverence for classical subjects and today’s abstract and conceptual tendencies.

The use of geometric abstraction in this work also recalls early 20th-century movements like Constructivism and Suprematism, which sought to break down forms into their essential components and explore new ways of visualizing space and structure. The geometric lines in Polygone 1.33 might also reflect the influence of modernist architecture and the fascination with mathematical forms that underpinned much of the avant-garde art of the 20th century.

The circular cutouts containing fragments of classical imagery evoke the concept of appropriation in contemporary art, where existing imagery is repurposed to create new meanings. This approach was popularized by artists like Robert Rauschenberg and Sherrie Levine, who used appropriation to challenge the notions of originality and authorship in art. By embedding these fragments within a larger abstract composition, Polygone 1.33 speaks to the fragmented nature of art history itself—how cultural artifacts are often decontextualized and reinterpreted through the lens of contemporary culture.

Modern Context and Contemporary Interpretation

In a contemporary context, Polygone 1.33 can be interpreted as a meditation on how we perceive and reconstruct history in the digital age. The incorporation of Goltzius’ print, juxtaposed against abstract geometries, reflects the ongoing dialogue between the past and the present, tradition and innovation. The geometric lines over the classical imagery could represent the structures and limitations imposed by modern perspectives on historical narratives.

The vibrant red background and the precision of the geometric lines suggest an almost scientific approach to deconstructing history. The use of vibrant color fields, along with classical references, places this work in the context of postmodernism, which often employs irony, fragmentation, and a mixture of styles to challenge established narratives.

The raised circular elements, painted and layered onto the panel, create a sense of disjunction, prompting the viewer to consider the selective nature of memory. The fragmented glimpses of classical imagery within these circles hint at the idea that our understanding of history is often incomplete—shaped by fragments that we choose to focus on or that happen to survive.

Final Thoughts

Polygone 1.33 is a multi-layered artwork that challenges the viewer to explore themes of history, memory, and the relationship between classical beauty and modern abstraction. Through its combination of geometric design, bold color choices, and classical imagery, the piece speaks to the way we reconstruct the past to make sense of the present.

The painting’s integration of different materials—print, paint, and sculptural elements—creates a dynamic visual experience that invites the viewer to engage with both the physicality of the work and its conceptual underpinnings. By bridging the gap between classical references and modern abstraction, Polygone 1.33 invites us to reflect on the nature of art itself: as a continuum that constantly evolves, borrowing from and reinterpreting what came before in order to create something entirely new.