Seeking an English equivalent for peinture relative, Fritz Glarner settled on the term 'relational painting' towards the end of 1946, which he applied retrospectively to some of his earlier paintings and all his subsequent works. It was a term that suited the kind of abstract painting he pursued, focused on relating geometric shapes and ground through colour in ways which would make shape and ground alternate to produce what he called 'pumping planes'. While acknowledging the influence of Piet Mondrian , with whom he was closely associated in New York, Glarner replaced the balancing of horizontality and verticality achieved in Mondrian's painting with interlocking rectangles and wedges that expand out towards the edges of the canvas.- Dore Ashton ✦ Customize This Card SAVE: .PNG .JPG .SVG COPY DESIGN: ✦ EXTREME MIX THEME PATTERN FRAME CUSTOM BG: UPLOAD IMAGE ✕ CLEAR DIM: FONT: Playfair Display Cinzel Royal Cormorant EB Garamond Lora Editorial Merriweather Baskerville Roboto Slab Montserrat Raleway Oswald Bold Lato Clean Great Vibes Dancing Script Pacifico Caveat Brush Amatic SC RATIO: Auto Fit 4:5 Portrait 1:1 Square 5:4 Classic 16:9 Wide 9:16 Story 3:4 Poster RES: 1x Standard 2x HD (1080p) 3x Ultra (4K) 4x Extreme Print BG PAT TEXT FRAME Seeking an English equivalent for peinture relative, Fritz Glarner settled on the term 'relational painting' towards the end of 1946, which he applied retrospectively to some of his earlier paintings and all his subsequent works. It was a term that suited the kind of abstract painting he pursued, focused on relating geometric shapes and ground through colour in ways which would make shape and ground alternate to produce what he called 'pumping planes'. While acknowledging the influence of Piet Mondrian , with whom he was closely associated in New York, Glarner replaced the balancing of horizontality and verticality achieved in Mondrian's painting with interlocking rectangles and wedges that expand out towards the edges of the canvas.- Dore Ashton
Seeking an English equivalent for peinture relative, Fritz Glarner settled on the term 'relational painting' towards the end of 1946, which he applied retrospectively to some of his earlier paintings and all his subsequent works. It was a term that suited the kind of abstract painting he pursued, focused on relating geometric shapes and ground through colour in ways which would make shape and ground alternate to produce what he called 'pumping planes'. While acknowledging the influence of Piet Mondrian , with whom he was closely associated in New York, Glarner replaced the balancing of horizontality and verticality achieved in Mondrian's painting with interlocking rectangles and wedges that expand out towards the edges of the canvas.- Dore Ashton ✦ Customize This Card SAVE: .PNG .JPG .SVG COPY DESIGN: ✦ EXTREME MIX THEME PATTERN FRAME CUSTOM BG: UPLOAD IMAGE ✕ CLEAR DIM: FONT: Playfair Display Cinzel Royal Cormorant EB Garamond Lora Editorial Merriweather Baskerville Roboto Slab Montserrat Raleway Oswald Bold Lato Clean Great Vibes Dancing Script Pacifico Caveat Brush Amatic SC RATIO: Auto Fit 4:5 Portrait 1:1 Square 5:4 Classic 16:9 Wide 9:16 Story 3:4 Poster RES: 1x Standard 2x HD (1080p) 3x Ultra (4K) 4x Extreme Print BG PAT TEXT FRAME Seeking an English equivalent for peinture relative, Fritz Glarner settled on the term 'relational painting' towards the end of 1946, which he applied retrospectively to some of his earlier paintings and all his subsequent works. It was a term that suited the kind of abstract painting he pursued, focused on relating geometric shapes and ground through colour in ways which would make shape and ground alternate to produce what he called 'pumping planes'. While acknowledging the influence of Piet Mondrian , with whom he was closely associated in New York, Glarner replaced the balancing of horizontality and verticality achieved in Mondrian's painting with interlocking rectangles and wedges that expand out towards the edges of the canvas.- Dore Ashton