Milan Mrkusich

(1925 ) - Artworks
MRKUSICH Milan Untitled Dark

Webb's /Dec 6, 2011
23,243.66 - 34,865.49
Not disclosed

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Artworks in Arcadja
49

Some works of Milan Mrkusich

Extracted between 49 works in the catalog of Arcadja
Milan Mrkusich - Meta Grey No.1

Milan Mrkusich - Meta Grey No.1

Original 1969
Estimate:

Price: Not disclosed
Lot number: 67
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Description:
98 / 133 Lot: Important Paintings and Contemporary Art 13 AUG 2013 6:30PM Lot 67 Milan Mrkusich Meta Grey No.1 acrylic on canvas signed Mrkusich and dated '69 in graphite verso; signed Mrkusich and inscribed Painting; Meta Grey No.1 in stencilled paint verso 715mm x 715mm $25,000 - $35,000 (Click image to see full size) Back This work brilliantly manifests the essence and modernist genius of New Zealand’’s master of abstraction, Milan Mrkusich. Mrkusich has herein synthesised the monochromatic grey of his canvas with abstract, geometric form, constructing a composition whose power lies in its timeless, spaceless resonance. The curvilinear motif of a squared circle was central to many of Mrkusich’’s paintings throughout the 1970s. Though commonly referred to as ‘corner paintings’’, these works do not derive their gravitas from the break in form at the corners of the composition, but rather by virtue of the fact that, in emulating a photographic corner mount, they frame, define and give focus to the viewer’’s exploration of Mrkusich’’s monochromatic expression. The present work, a strong and adroit manipulation of form and colour, also recalls his Bauhausian influence and architectural formation. RACHEL KLEINSMAN Lot 67 Milan Mrkusich Meta Grey No.1 acrylic on canvas signed Mrkusich and dated '69 in graphite verso; signed Mrkusich and inscribed Painting; Meta Grey No.1 in stencilled paint verso 715mm x 715mm $25,000 - $35,000
Milan Mrkusich - Achromatic, Dark I

Milan Mrkusich - Achromatic, Dark I

Original 1977
Estimate:

Price: Not disclosed
Lot number: 42
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Description:
Lot 42 Milan Mrkusich Achromatic, Dark I acrylic on canvas signed Mrkusich, dated '77 and inscribed Achromatic, Dark I in brushpoint verso; label verso inscribed Show Bg. One Man Show 1980, view 5 21st April - 1st May 1760mm x 1430mm $55,000 - $75,000 (Click image to see full size) Back
Milan Mrkusich - Four Elements In Combination (crimson), From The Elements Series

Milan Mrkusich - Four Elements In Combination (crimson), From The Elements Series

Original 1966
Estimate:

Price: Not disclosed
Lot number: 117
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Description:
Lot 117 Milan Mrkusich Four Elements In Combination (Crimson), From The Elements Series oil and graphite on board signed and dated '66; signed and dated 1966, and inscribed Four Elements in Combination (Crimson) in crayon verso; inscribed A.S.C.M. benefit auction in pencil verso; original Barry Lett Galleries Ltd. invoice, dated 31-5-68, affixed verso 285mm x 510mm $4,500 - $6,000 Note: From the Elements series. Provenance: From the collection of the late Peter and Sylvia Siddell.
Milan Mrkusich - Untitled Dark

Milan Mrkusich - Untitled Dark

Original 1985
Estimate:

Price: Not disclosed
Lot number: 52
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Description:
Lot 52 Milan Mrkusich Untitled Dark acrylic on stretched canvas signed Mrkusich, dated 1985 and inscribed Untitled Dark in pencil verso upper edge 1600mm x 1600mm $40,000 - $60,000 The immaculate surface of this canvas and the refinement of the painted structure identify Untitled Dark as a mature work by Milan Mrkusich. Painted in the fourth decade of his career as an artist and seventeen years following the first of his colourfield Monochrome series, this large painting is part of the logical and constant development seen in Mrkusich’’s oeuvre. Dark paintings are notoriously difficult both for the artist and the viewer, with Mrkusich himself claiming, ‘it is very difficult to make black or darkness work’’. Yet in spite of the difficulties what becomes apparent in viewing Untitled Dark is that the simplicity of the unambiguous squared format is in perfect balance with the restricted colour: Mrkusich makes darkness work. The schema for this iconic dark painting is an uncomplicated geometric structure of colour and form, the enveloping darkness shadowing the formal relations of squareness. The soft qualities of colour are restricted to three shades of subtly varying but sumptuous darkness in three separate blocks: one large upper rectangle in a darkened mauve with two squares below, the left a dark earthy tone alongside a much more saturated and weightier tone of near black. Peter Leech, when discussing Mrkusich’’s dark paintings in Art New Zealand, said of them, “In the dark, of course, formal definition and outline blur. The eyes see only the vaguest relations of intensity and saturation of darkness.” This is the case in Untitled Dark , where the tones are all variations in the dark and consideration of them is only able to be in terms of that darkness, of their being more of a blueish darkness, a brownish or even a charcoal darkness. Colour relations have always been a focus and source of vigour in Mrkusich’’s painting and so it is in Untitled Dark , even with its restricted and darkened palette and mathematically restrained structure. There is always a perceptual to-ing and fro-ing of colours placed next to each other, and in this painting the heavily saturated lower right square lies perceptually in front of those around it, the large upper rectangle more distant. Each carefully built up colour is consistently worked without modulation – technically no mean task given the area of paint – yet the eyes perceive a draining of darkness alongside the saturated weight of the lower right square and to a lesser extent alongside the lower left square, as if there were a luminosity that escapes from the border between the tones. In spite of that the demarcation of the separate areas is not harsh, rather, it is a separation softened by the artist’’s hand, by his choice of colour. This is not hard-edged geometric abstraction, this is abstraction of the human kind, with the sensations and qualities of the varying shallow depths of the darkened structure both softening the mathematical structure and gently enlivening the painted surface. Given the refinement of Untitled Dark what we see in the opulence of that dark colour structure is the embodiment of technical accomplishment and the certitude of Mrkusich’’s painting process.
Milan Mrkusich - Centre With Three Elements

Milan Mrkusich - Centre With Three Elements

Original 1965
Estimate:

Price: Not disclosed
Lot number: 35
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Description:
35. Milan Mrkusich b. 1925 - Centre With Three Elements Oil on canvas 87.0 x 87.0 Signed & dated 1965 more info... Provenance: Private Collection, Sydney, NSW Exhibited: Barry Lett Galleries, Auckland 'Paintings from 1960 - 1966', March, 1966 For six and a half decades, Milan Mrkusich has been at the forefront of modernism in New Zealand. From the outset, he painted abstract pictures, not the landscape subjects that preoccupied his contemporaries. Mrkusich had no interest in representations and symbols of 'New Zealandness', finding inspiration in the innovations of European and American art, and seeking the universal rather than the merely local. This was not an easy path. In the early part of his career, there was virtually no art market in New Zealand, and certainly no market for such radical paintings as Mrkusich's. Painting therefore had to compete for his time with more profitable ventures, such as his work for the pioneering design firm Brenner Associates. But in 1958, when Brenner ceased to be profitable and closed its doors, he had more time to focus on painting. As a result, the following decade saw a series of bold and astonishingly rapid changes to the style and format of his paintings. Centre with Three Elements is an outstanding example from this rich and productive phase of Mrkusich's career. The Elements series of 1965 was one of the most resolved series of work Mrkusich had produced. The dominant motif, an interlocking circle and square, had been present in the preceding Emblem series, but now it became a more thoroughgoing system. Typically, the system consists of a square support divided into four quadrants, each containing a circular element. Centre with Three Elements, though, is exceptional in its variations on this theme.
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