VLADIMIR WEISBERG 1924-1985 RUSSIAN GEOMETRIC FIGURES OIL ON BOARD. Vladimir Weisberg Russian Geometric Figures, oil on board, Image size 19in by 23in.

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Vladimir Weisberg studied painting first at the studio of Ivashev-Musatov and later attended the workshop of A. Osmerkin. He was a regular participant in official exhibitions until he decided to participate in the avant-garde exhibition of A. Ginzburg. After that Weisberg became famous. At the scandalous exhibition of avant-garde artists at the Manege in 1962, V. Weisberg was exhibited in the main exhibition hall.

In 1963 a new theme appeared in the works of V. Weisberg, which received the name "white on white", in which he tried to express "invisible painting", going back to the "white suprematism" of K. Malevich. "White on white" does not deny the presence of color: in Weisberg's works, "white" consists of many barely distinguishable "particles" of color. In his canvases the color seems to be absorbed by light thereby causing the picture to glow from the inside. The artist said: "Harmony is a kind of homogeneous light, felt gradually through the structure. This light is beyond our senses. When it is inhibited by our limited senses, it is felt without understanding it." Light for the painter has nothing to do with the lighting of objects, it seems to arise from inside the picture.

V. Weisberg depicts geometric shapes - cubes, cones, balls, tubes, melting in the light. Each of their sets in the picture is strictly thought out: the ratio of forms with each other, their joint rhythm, as well as location in space was important. Conjugated in groups where "nothing can be reduced or added- so everything is verified and balanced. Most often the compositions have an emphatically centric character. They are closed, hieratic and slightly turned on us, which is emphasized by the introduction of the reverse perspective. Sometimes objects line up in musically rhythmic "processions", where larger forms are echoed by smaller objects to very tiny. The ideal architectonic construction of the composition - both in proportional and weight relations - resembles architectural ensembles.

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In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist.

After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist.

Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil.

Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil).

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