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Aquatint with Etching - Signed and Number // Robert Mangold's #9 From Attic Series (1991) is an etching and aquatint measuring 81.3 x 91.4 cm. The artwork features a minimalist, geometric form—a trapezoidal shape in a rich terracotta hue set against a stark white background. A single, elegant looped line bisects the trapezoid, creating a sense of continuity and flow within the rigid structure. Mangold's use of simple forms and subtle line work reflects his commitment to exploring the relationship between shape, color, and space. The earthy tone and precise geometry evoke an architectural quality, while the fluid line introduces a sense of balance and movement, characteristic of Mangold’s abstract style.
#9 From Attic Series, 1991
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81.3 x 91.4 cm
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Details
Artist
Styles
Aquatint with Etching - Signed and Number // Robert Mangold's #9 From Attic Series (1991) is an etching and aquatint measuring 81.3 x 91.4 cm. The artwork features a minimalist, geometric form—a trapezoidal shape in a rich terracotta hue set against a stark white background. A single, elegant looped line bisects the trapezoid, creating a sense of continuity and flow within the rigid structure. Mangold's use of simple forms and subtle line work reflects his commitment to exploring the relationship between shape, color, and space. The earthy tone and precise geometry evoke an architectural quality, while the fluid line introduces a sense of balance and movement, characteristic of Mangold’s abstract style.
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Robert Mangold
Untitled 2 ( From A Book Of Silk Screen Prints), 1992
Limited Edition Print
Serigraph
USD 1,100
What is geometric abstract art?
Geometric abstraction is a form of abstract art that uses geometric shapes arranged in a non-illusionistic space (though not always) and combined into non-representational (non-objective) compositions. Based on years of artistic research, some artists have proposed that geometric abstraction offers a solution to modern challenges by rejecting traditional illusionistic practices in favor of clarity and simplicity.
