Barth - Untitled

The work is an abstract composition. "Abstract" derives from the Latin term "abstrahere," which means to extract or draw out. The process of abstraction, in fact, consists of eliminating the particular and individual aspects of an object to derive a universal concept. From Kandinsky to Mondrian, from Pollock to Mirò, many painters have pushed the process of abstraction to the limit in their works, paradoxically creating pure forms and pure colors that do not exist in nature, or translating their emotions and instincts into images.

The painter Barth devoted all his research to a pure, uncompromising abstraction rooted in the historical avant-garde movements of the early twentieth century, with a particular interest in the work of Kandinsky. Like the Russian master, Barth's aim in painting is to transform all reality into a pure perception, uncontaminated by any descriptive frills. This requires a remarkable abstraction of reality and perceived things, which, paradoxically, leads to reducing the perceptible world to the iconic concreteness of pure forms and pure colors. In this particular work, however, Barth still allows himself a small connection with sensory data. Indeed, this work clearly presents the representation of a landscape, albeit transfigured into the abstract terms typical of this painter. Thus, the objects, houses, and trees are synthesized into patches of pure color, delineated by a regular black line. A very distinctive feature of the composition of this painting is the presence of a hint of linear perspective. It is very rare, in fact, to find, in this artist devoted to two-dimensionality, an allusion to spatial depth.

Barth is the pseudonym used by Quinto Bartolomeo, a painter and modern art critic. Author of several essays and books, he has received numerous academic accolades: an honorary degree from the Pro Deo International University in New York, president of the Academy of European Community Studies, and a member of the Academic Senate of the International Academy of Modern Art. He is considered the founder of the "Logic of Forms" movement. He has exhibited his work in numerous exhibitions (Foreign Press, Rome – Galleria San Luca, Venice – Galleria Mouffe, Paris – Galleria Vallobresuse, Palm Beach, Florida – Mirvin Art in New York – Galleria Motte, Geneva – Galleria Modigliani, Milan – Artexpo, New York – San Francisco).

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