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The balances
between design, composition and color harmony in each of these paintings,
show the complete artistic freedom and compositional control Skov had
achieved with the Neo-cubist idiom; and they amply demonstrate how far he
had come towards the complete integration of its demanding aesthetic, as
well as its amalgamation with his own previous perception of painting. In
this connection it is particularly interesting to compare these prismatic
paintings with the later series of Skov’s “rhythmical”, sinuous-line
compositions from 1957, because, although they look so different, the
underlying premise of perceptual visualization of space and objects is
obviously the same.
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