Bram Bogart occupies a somewhat idiosyncratic position within European postwar painting, although he was unmistakably a child of his time. Bogart’s artistry developed in post-World War II Europe when modernism had already established itself in all areas of the artistic world and when new developments in art were rapidly succeeding each other. Because of his enormous canvases on which paste-like paint was often spread thickly (Bogart’s trademark from the early 1960s), critics at the time often placed him in the category of Matter Art, an art movement to which artists such as Antoni Tapiès, Jean Dubuffet, Jean Fautrier and Alberto Burri also belonged, who often integrated ‘foreign’ materials into their work.
Bogart, however, always resisted such a reductionist categorization, saying that he felt “primarily and above all a painter and that painting – and painting alone – was my métier.
Although Bogart adopted a rather solitary attitude towards events in the art world of the time – for example, he was not infrequently moved to non-urbanized regions amid nature throughout his career as an artist – he always managed to keep his frame of reference in his painting sharp. He succeeded in this because, in his own words, he had always surrounded himself with his works from earlier periods. He always retained a contemplative overview and could “intuitively” adjust his stylistic developments to it. Because of these tactics, rigid persistence, and perhaps just this einzelgänger mentality, Bogart made a fundamentally distinctive and relevant contribution to postwar abstract painting.
Excellent condition and framed with 70% artglass.