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Collection highlights
In the exhibition catalogue “Room 312A", Lapin describes his formal language in the 1990s as a way of developing conceptual geometry. The term ‘conceptual geometry' was coined by the artist himself. This style can be seen as a continuation of Lapin's long process of developing his experience of suprematism, however in thoroughly altered temporal and spatial conditions. One of the components of this multi-layered concept is icon painting. Lapin took over the modern version from Malevich, and the subject is directly expressed in “Crossing Lines". Leonhard Lapin writes: “The attempt to express the initial endeavours of the primary source in order to get rid of the state of relativity that surrounds the individual and seek the absolute in a psychic, as well as in a cosmic sense is stronger than in suprematism. Equally unlike with suprematism, the problem of the void has come into view in my work. In the void I see a concept of space and cosmos characteristic of the end of the century. The presence of the void in an art piece gives it a specific mentality and persuades the artist to get rid of substance and instead enter into a world where substance and soul are as one."* Eha Komissarov * Leonhard Lapin, Rytmit sfääreillä. - Ruum 312A. Viron nykytaidetta. Exhibition catalogue. Hyvinkää Art Museum/Oulu Art Museum, 2000, p. 42.

Leonhard Lapin
Crossing Lines III

 
Artist: Leonhard Lapin (1947 - )
Title: Crossing Lines III
Date: 1994
Technique:
Material:
oil
wood
Height (cm): 165.0
Width (cm): 66.5
Description: In the exhibition catalogue “Room 312A", Lapin describes his formal language in the 1990s as a way of developing conceptual geometry. The term ‘conceptual geometry' was coined by the artist himself. This style can be seen as a continuation of Lapin's long process of developing his experience of suprematism, however in thoroughly altered temporal and spatial conditions. One of the components of this multi-layered concept is icon painting. Lapin took over the modern version from Malevich, and the subject is directly expressed in “Crossing Lines".
Leonhard Lapin writes: “The attempt to express the initial endeavours of the primary source in order to get rid of the state of relativity that surrounds the individual and seek the absolute in a psychic, as well as in a cosmic sense is stronger than in suprematism. Equally unlike with suprematism, the problem of the void has come into view in my work. In the void I see a concept of space and cosmos characteristic of the end of the century. The presence of the void in an art piece gives it a specific mentality and persuades the artist to get rid of substance and instead enter into a world where substance and soul are as one."*
Eha Komissarov

* Leonhard Lapin, Rytmit sfääreillä. - Ruum 312A. Viron nykytaidetta. Exhibition catalogue. Hyvinkää Art Museum/Oulu Art Museum, 2000, p. 42.
Related categories: Contemporary Art
Copyright notice: Art Museum of Estonia
AME collection: Paintings collection
Collection number: M 6962
Accretion number: EKM j 44834
Muis reference http://muis.ee/museaalView/249596
File info: Source type: digital photography
File type: TIF
File size: 19.21MB
Resolution: 1618*4148px @ 300dpi
 
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