#SOL LEWITT GENERATOR#
#SOL LEWITT SERIAL#
#SOL LEWITT SERIES#

Their existence is limited by the duration of the exhibition. During his career, he created more than 1270 wall drawings, but most of them are executed by his assistances.

#SOL LEWITT SERIES#

In his late work, in 2005, LeWitt started a series of scribble wall drawings which required filling the areas by scribbling with the graphite. Applying a different system of change to each of twenty-four possible combinations of a divided square with one of the four types of lines he used (horizontal, vertical, diagonal left and right), the first series was called Rotation, the second Mirror, the third Cross and Reverse Mirror and the fourth was Cross Reverse. In the next two years, he created four Drawing series, presenting various combinations of the basic geometrical elements. On that way, the idea of his work surpassed the work itself. After the first one which he did by himself, LeWitt soon made a team of assistants that worked under his plans. The existence of the wall drawings was determined as a set of instructions that could be installed repeatedly. Considering two-dimensional works only as a manifestation of an idea, and not as objects, his drawings had a limited duration and all of them were ultimately painted over. It has consisted of a system of parallel lines in four directions, drawn with the black pencil on a white wall, like numerous after this one. His first drawing, Wall Drawing #1, had been revealed in 1968 at Paula Cooper Gallery in New York. Sol LeWitt - Wall Drawing #8791, photo credits Sol Lewitt’s Wall Drawings He was influenced by work of Robert Rauschenberg, Frank Stella and Jasper Johns

#SOL LEWITT SERIAL#

His works on canvas coated with thick layers of oil paint and also three-dimensional pieces constructed in the second half of the 60’s as Serial Project, or numerous sculptures made of open white cubes, were directly inspired by Muybridge’s serial. A book, with Eadweard Muybridge’s serial photography, sequential studies of people and animals in motion, which somebody had left in his apartment will later on turn out to be the biggest influence on his work. He was also influenced by postulates of the Russian Constructivism which was propagated industrial aesthetic and utilitarian art. Later on, LeWitt was hired in one architecture office as a graphic designer and of the crucial importance for his career was the engagement at the Museum of Modern Art where he was introduced to the work of Robert Rauschenberg, Frank Stella and Jasper Johns. Settling in the New York in 1953 and finishing Cartoonist and Illustrators School, his first job was for Seventeen Magazine. During his service, he was making posters and spending some time in Japan, he started buying artworks, making his own collection.

After he finished his studies at the Syracuse University, in 1951 was drafted in the Korean War. Sol LeWitt was born in Hartford, Connecticut, in 1928. Sol LeWitt - Color Bands, 2000, photo credits Early Influences and Creation of a New Aesthetic His work ranged from wall drawings, structures (a term he preferred instead of sculptures), painting and conceptual pieces that remained the elements of the artistic process. Conceiving of a work is the only artist’s obligation, then he can either delegate the production to others or can choose to even never make it at all.

#SOL LEWITT GENERATOR#

Believing that the idea itself could be the work of art and displace the artist into the position of a generator of that idea, LeWitt considered creation as an intellectual and pragmatic act. He helped establish Conceptual art and Minimalism of the postwar era. Being one of the main figures in the creation of the new aesthetic of the 60’s that was in a contrary to the Abstract Expressionism, Sol LeWitt defined conceptual art with his statement that the idea or concept is the most important aspect of the work.

Sol lewitt