Vitrinentext
Angeregt durch konstruktivistische Gemälde in der Nachfolge Piet Mondrians begann Fleischmann ab 1950 damit, die Bildflächen durch parallele Farbstreifen unterschiedlicher Längen und Farbwerte rhythmisch vor einem monochromen Hintergrund zu strukturieren. Die oszillierenden Streifen eröffnen eine von räumlicher Perspektive unabhängige Dreidimensionalität und machen den Künstler zu einem Vorreiter der Op-Art.
Inspired by constructivist paintings in the wake of Piet Mondrian, Fleischmann began in 1950 to structure the picture surfaces rhythmically against a monochrome background by means of parallel color stripes of varying lengths and color values. The oscillating stripes open up a three-dimensionality independent of spatial perspective and make the artist a pioneer of Op-Art.
Inspired by constructivist paintings in the wake of Piet Mondrian, Fleischmann began in 1950 to structure the picture surfaces rhythmically against a monochrome background by means of parallel color stripes of varying lengths and color values. The oscillating stripes open up a three-dimensionality independent of spatial perspective and make the artist a pioneer of Op-Art.