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Brushstrokes: Horizontal and Vertical by Sol LeWitt

Brushstrokes: Horizontal and Vertical
by Sol LeWitt

Available at Galerie Raphael


Lithograph print


Edition Size: 25

Sheet Size: 16.5 x 22.7 cm

Reference: Krakow 1996.02


Condition: Pristine

Price on Application

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Born in 1928, the American artist Sol LeWitt achieved fame in the early 1960s with his early body of works known as Structures (a term LeWitt preferred for his sculptures). The artist is especially known for his modular Structures, open cubes arranged in various forms to create geometric constructions. The layout of the open, skeletal cubes is subject to self-imposed rules. In the process of his artistic growth he enlarged the cubes up to 63 inches (about eye height) and besides even started to use concrete blocks for his sculptural work.
With his artistical shift from minimal to conceptual art he brought color to his works. Starting with wall drawings, which were – in tradition of conceptual art – executed by other people than the artist. In the 1980s, after a stay in Italy, he started painting in gouache, a water based paint. In his gouaches, he played with free flowing, undulating lines creating abstract works in contrasting colors. He used mainly the primary colors red, yellow, blue, together with black, white and gray. At first sight LeWitt’s gouaches might seem like a strong break with his approach to the Structures. However, both his sculptural work and his paintings are connected by his general interest in complex systems and structural arrangements.
These 25 graphic works are based on Sol LeWitt’s gouaches. The print medium equates perfectly to the artist’s fondness for serial works and his conceptual system. Printmaking means a collaboration between the artist and the printer – it is a perfect expression of his artistical genius. It is of special value and a rarity, that this set of 25 lithographs is complete as issued and conceived by the artist. By now, most sets have most likely been broken up for individual resale. The playful nature of conceptual art shows perfectly in these works, meaning that there is absolutely no rule how to arrange them.

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