- Gunther Gerzso
- signed and dated 64; signed, titled and dated X. 64 on the reverse
- oil on Masonite
- 21 3/4 by 18 1/4 in. 55.2 by 46.4 cm.
Thence by descent to the present owner
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NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
Executed in 1964, Triad is a canonical example of Gerzso’s aesthetic lexicon: rhythmic, mystical, deliberately precise and sensibly precarious. His fascination with ancient architectural principles coupled with his wondrous vision of the spiritual and emotional power of the Mexican landscape are hereby poetically articulated. Executed at the height of his artistic career, the painting is rendered with a masterful showcase of technical prowess. Obsessed with precision, Gerzso studied old master painting meticulously. Of particular interest to him was their rigorous application of radiant color to build luminous layers of paint. His treatment of Masonite, specifically the smooth surface of the reverse, allowed him to yield silken and porcelain-like surfaces.
The influential underpinnings of Gerzso’s aesthetic ethos are also vividly outlined in Triad. At the age of twelve, Gerzso received a copy of Le Corbusier’s 1923 polemic book, Vers une architecture nouvelle (Towards a New Architecture) from his Swiss uncle, Hans Wendland, an art dealer and collector. In this foundational book, the modernist architect celebrates geometry as the building block for the construction of the new modern city. Vers une architecture nouvelle permanently marked Gerzso's understanding of abstraction. Years later, he would likewise recall that “the discovery of Pre-Columbian architecture [was my] point of departure" (ibid, p. 110).
Triad presents a dramatic interplay of small pockets of geometric shapes set within vast planes of deep saturated hues. A stunning glowing orange back-drop harmonizes the jewel-toned greens and crisp whimsical blues—an allusion to the earth, vegetation and Pre-Columbian edifices. While Gerzso constructs these prisms of color with a careful and tensile placement of lines that impose a controlled rigidity, we find a sensually-shaped fissure line, known as “la grieta,” in the upper right of the painting. Suggestive of both a crack in the earth and a rupture in stone, “la grieta” is Gerzso’s last provocation; a final release of emotion. In this dazzling and controlled expression of color and form, Gerzso’s abstract language conjures an ethereal reality reminding the viewer of the “necessity for mystery and poetry in art" (ibid, p. 139).