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Anton Stankowski
1 + 1 = 3, 1969
Acrylic on canvas
55 x 41 cm

Paintings from the 1950s to the 1990s

Stankowski‘s visual works are categorized as concrete art, but they go far beyond that. Even though he does start with pure form, such as the rectangle, circle, and square, he never uses them in a dogmatic manner. Rather, he is more interested in a principle of order, which visualizes tasks. He plays with perspective and dynamics, with color and series. In doing so, he never employs any element in random way, but instead, unites the surfaces and gives rhythm to forms. For Stankowski, painting was an essential source of inspiration. It became increasingly important to his work. Division, rotation, time: content, which he translated into painting, adding it to other, related works. Stankowski was interested in a simplified depiction of complex themes. In the 1950s, he was still experimenting a great deal with symmetry and asymmetry. In the early 1960s, the oblique line was introduced as a new element in constructive art. In the 1970s, he was increasingly concerned with an exploration of color, and in the 1980s, he abandoned the panel painting and began using free forms. Still, the form was and still is the means to an end, “to simplify, to factualize, and to humanize — the latter is the most difficult,” said Anton
Stankowski.

Paintings from the 1950s to the 1990s
Curator: Ursula Zeller

Anton Stankowski
Warm-Cold
1988, 180 x 180 cm
Acrylic on canvas

Anton Stankowski
Peak VIII
1964
Collage with rolled paper

Anton Stankowski
Searching
1983, 130 x 90 cm,
Acrylic on canvas

Anton Stankowski
Construct Yellow
1958, 90 x 90 cm,
Acrylic on canvas