Vrouw met koe (Woman with Cow) - Bart van der Leck
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Beschreibung
A geometric abstraction by Bart van der Leck, reducing the subject of a woman and cow into essential forms and primary colours.
Bart van der Leck was a founding member of the De Stijl movement, though he maintained a distinct approach to abstraction compared to his contemporaries. In this work, the artist reduces the figurative subject of a woman and a cow into a series of geometric signs and primary colours. By stripping away representational detail, he focuses on the fundamental relationship between form, space, and colour.
The composition is characterised by a deliberate, sparse arrangement of shapes against a neutral ground. Van der Leck employs a limited palette, utilising black, blue, yellow, and red to define the spatial dynamics of the scene. The black forms suggest the mass and movement of the figures, while the lighter, coloured shapes provide a sense of atmosphere and rhythm. This method of breaking down reality into essential components was a hallmark of his practice during the late 1910s.
Unlike the rigid grid structures often associated with De Stijl, this piece retains a sense of organic movement. The placement of the shapes suggests the presence of the figures without relying on traditional perspective or modelling. The white background is not merely empty space, but an active element that interacts with the painted forms. This approach reflects the artist's desire to create a visual language that communicates the essence of the subject through pure abstraction. The work serves as an example of the transition from figurative painting to the non-objective style that would define much of his later career. By isolating these elements, the viewer is invited to engage with the construction of the image itself rather than a literal depiction of the scene.
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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
Vrouw met koe (Woman with Cow) - 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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