Fine Art Poster
From $39
A giclée print on 200gsm matte fine art paper, using a twelve-colour process for accurate, fade-resistant colour. Supplied unframed, delivered flat or rolled.
Untitled (Geometric Composition) - Bart van der Leck
Regular price
$39.00 USD
Sale price
$39.00 USD
Regular price
Archival giclée
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Description
A geometric abstract composition by Dutch artist Bart van der Leck, featuring primary colours and black forms on a neutral ground.
This work by Bart van der Leck represents the artist's transition toward the radical abstraction that defined the De Stijl movement. Van der Leck, a contemporary of Piet Mondrian, utilised a restricted palette of primary colours alongside black and white to explore the relationship between form and space. Unlike the rigid grid structures often associated with later geometric abstraction, this composition retains a sense of rhythmic movement through the placement of rectangular blocks.
The painting features isolated colour fields suspended against a neutral, off-white ground. By detaching these shapes from representational subjects, the artist focuses on the optical interaction of colour and the balance of negative space. The brushwork remains visible, providing a tactile quality that contrasts with the mathematical precision of his later output. This approach reflects his interest in the synthesis of art and architecture, where individual elements function as components within a larger, unified visual system.
Van der Leck's influence on the development of modernism is evident in his rejection of traditional perspective. He treats the canvas as a flat surface, arranging his geometric units to create a sense of equilibrium. The composition avoids symmetry, opting instead for a dynamic distribution of weight and tone. This piece offers an insight into the early experiments of the Dutch avant-garde, capturing a moment when artists sought to strip away decorative excess in favour of pure, elemental expression. The work remains a clear example of the search for a universal visual language that could transcend cultural boundaries, a goal that occupied many European artists during the early twentieth century.
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Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Complete The Look
Untitled (Geometric Composition) - Bart van der Leck
Regular price
From $39.00 USD
Sale price
From $39.00 USD
Regular price
Fine Art Poster / Small Square (30x30 cm) / -
Artist Biography
Bart Van Der Leck
The conventional account of De Stijl gives Mondrian its theoretical centre. The record tells a more complicated story. When Mondrian arrived at Van der Leck's studio in Laren around 1916, he encountered a painter already working in pure primary colours on white, and adopted the practice. Van der Leck, born in Utrecht in 1876 to a house painter, had arrived there independently, beginning not in a fine art academy but in a stained glass workshop where he learnt the discipline of flat colour and geometric outline.
When Van der Leck, Mondrian, and Theo van Doesburg co-founded De Stijl in 1917, Van der Leck was already developing his signature method: abstraction from representational sources rather than from theory. His Triptych converts observational sketches made at a Spanish mine into forms that read as pure geometric composition. He was, as the critic Jed Rasula described it, literally ab-stracting: pulling observable subjects apart until only geometric coordinates remained.
The movement did not hold him long. Financial support from the art dealer and critic Hendrik Bremmer was central to Van der Leck's survival, and Bremmer's aesthetic tolerance had limits. As Van der Leck's painting became more abstract, Bremmer withdrew his allowance. Unlike Mondrian, who refused the same pressure and permanently lost that support, Van der Leck returned to figurative work to have it restored. He described Bremmer years later in Museumjournaal as generous but also stubborn and domineering, a patron determined to have his own way.
Away from easel painting, Van der Leck worked productively in applied design: interior commissions including the St Hubertus Hunting Lodge (1919-20), textile and packaging work for Metz and Co. from 1930, and a typeface he designed in 1941 for the avant-garde magazine Flax, later digitally revived as Architype van der Leck in 1994. He died in Blaricum in 1958, aged 81.
When Van der Leck, Mondrian, and Theo van Doesburg co-founded De Stijl in 1917, Van der Leck was already developing his signature method: abstraction from representational sources rather than from theory. His Triptych converts observational sketches made at a Spanish mine into forms that read as pure geometric composition. He was, as the critic Jed Rasula described it, literally ab-stracting: pulling observable subjects apart until only geometric coordinates remained.
The movement did not hold him long. Financial support from the art dealer and critic Hendrik Bremmer was central to Van der Leck's survival, and Bremmer's aesthetic tolerance had limits. As Van der Leck's painting became more abstract, Bremmer withdrew his allowance. Unlike Mondrian, who refused the same pressure and permanently lost that support, Van der Leck returned to figurative work to have it restored. He described Bremmer years later in Museumjournaal as generous but also stubborn and domineering, a patron determined to have his own way.
Away from easel painting, Van der Leck worked productively in applied design: interior commissions including the St Hubertus Hunting Lodge (1919-20), textile and packaging work for Metz and Co. from 1930, and a typeface he designed in 1941 for the avant-garde magazine Flax, later digitally revived as Architype van der Leck in 1994. He died in Blaricum in 1958, aged 81.
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Fine Art Framed
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The same fine art print in a solid wood frame with UV-protective acrylic glaze and rigid backing. Five frame colours. Arrives ready to hang.
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