Still life (Bowl with apples) - Bart van der Leck
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Beschreibung
A minimalist geometric abstraction by De Stijl pioneer Bart van der Leck, featuring a reduced composition of a bowl and apples in primary colours.
Bart van der Leck was a founding member of the De Stijl movement, alongside Piet Mondrian and Theo van Doesburg. This work demonstrates his unique approach to abstraction, which he termed 'neoplasticism'. Unlike his contemporaries who often favoured a strict grid, van der Leck maintained a connection to representational subjects, reducing them to their most basic geometric components and primary colours.
In this composition, the artist strips away the superfluous details of a traditional still life. The bowl and the apples are rendered as flat, distinct shapes. The blue horizontal bands define the vessel, while the red and yellow polygons represent the fruit. By isolating these forms against a neutral, off-white background, van der Leck forces the viewer to focus on the relationship between colour, shape, and negative space. The lack of overlapping forms or traditional perspective creates a sense of stillness and clarity.
Van der Leck believed that art should be objective and universal. His method involved breaking down visual reality into a vocabulary of primary colours (red, yellow, blue) and non-colours (white, grey, black). This piece is an example of his mature style, where the subject matter is barely recognisable yet retains the structural essence of the original observation. The deliberate placement of each shape suggests a carefully considered balance, typical of his work during the early 1920s. This print captures the precise, clean lines and the stark, intentional colour palette of the original oil painting, making it a representative example of early twentieth-century Dutch modernism.
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Jeder Druck wird auf Bestellung im 12-Farben-Giclée-Druckverfahren auf FSC-zertifiziertem Archivpapier hergestellt. Entworfen in Großbritannien und gedruckt in Ihrem nächstgelegenen Produktionszentrum, um Abfall zu reduzieren und die Lieferung zu beschleunigen.
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
Still life (Bowl with apples) - Bart van der Leck
Artist Biography
Bart Van Der Leck
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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