6/internal/media/dispatcher/115420/fullWhite on Blue and Redc. 1934[František Kupka]František KupkaOil on canvasAs early as around 1910, František Kupka abandoned figurative, realistic painting and in a series of machine images developed a new visual language inspired by science and technology. The circular shapes in the painting White on Blue and Red similarly draw on technology, conveying an impression of large flywheels in motion, albeit highly abstracted. The red and blue round forms and circular segments evoke the impression of dynamism, while black vertical and horizontal bands have a stabilizing effect. The Czech painter was one of the first artists to exhibit abstract paintings in Paris. In the 1930s he became a key member of the artist group Abstraction-Création.Paintinghttps://sammlungtest.belvedere.at/objects/85014/rdf/internal/media/dispatcher/81114/fullAbstract Compositionc. 1925[František Kupka]František KupkaIndia ink, opaque white on paperDrawing arthttps://sammlungtest.belvedere.at/objects/30916/rdf/internal/media/dispatcher/81115/fullAbstract Compositionc. 1925[František Kupka]František KupkaWoodcut, opaque whiteDrawing arthttps://sammlungtest.belvedere.at/objects/30917/rdf/internal/media/dispatcher/128076/fullKomposition1919/1920[František Kupka]František KupkaGouache / Aquarell auf PapierDrawing arthttps://sammlungtest.belvedere.at/objects/89416/rdf/internal/media/dispatcher/28557/fullPrometheus1908-1910[František Kupka]František KupkaEngravings and drawings in slipcaseIn den Jahren 1908-1910 zeichnete Kupka die Vorlagen der Illustration zu einer Neuauflage des Prometheus von Aischylos. Das Buch erschien erst 1924 bei Auguste Blaizot in Paris.Printhttps://sammlungtest.belvedere.at/objects/17996/rdf/internal/media/dispatcher/81109/fullSitzendes Mädchen1905[František Kupka]František KupkaPencil on paperDrawing arthttps://sammlungtest.belvedere.at/objects/30912/rdf