Yaacov Agam (Israeli, b. 1928). "Happy Mood" - an Agamograph, 2015. Signed by the artist in ink at lower center. Numbered 57/180 in ink at lower left. A mesmerizing work by Yaacov Agam, cleverly called an Agamograph, and created via a most innovative technique that is comprised of a lithographic image viewed through a lenticular lens - "Happy Mood" displays Agam's mastery of Op Art and Kinetic Art, and his pieces have been compared to those of Victor Vasarely, Josef Albers, and Alexander Calder. Interestingly, this piece, with its ever-changing patterns and brilliant colors, demonstrates Agam's blend of optical and kinetic illusions, because the imagery transforms as the viewer's position changes. When viewed from different angles "Happy Mood" presents various combinations of colorful squares, circles, swirls, and ribbon-like motifs in hues of violet, lavender, petal pink, spring green, sky blue, lemon yellow, aqua, royal blue, orange, magenta, and more. Size of sight view: 11.75" L x 11.625" W (29.8 cm x 29.5 cm) Size of frame: 26" L x 26" W (66 cm x 66 cm)
"Happy Mood" truly lives up to its name, as the dynamic composition conjures associations of confetti and celebration. What's more, the floating frame suits it perfectly!
Yaacov Agam studied at the Bezalel Academy of Arts and Design in Jerusalem and also studied with Johannes Itten, a revered Bauhaus color theoretician. Raised in an Orthodox Jewish home, Agam was discouraged from pursuing art by his father who was a rabbi, and rather than defy the Orthodox prohibition of idolic images, Agam elected to create non-objective, non-representational works that prompt the viewer to contemplate and interpret the composition. Agam's work has been exhibited at the Museum of Modern Art, the Jewish Museum in New York City, the Centre Pompidou in Paris, as well as the Solomon R. Guggenheim Museum in New York City where he was honored with a retrospective in 1980. In addition, the Yaacov Agam Museum of Art opened in September of 2016 in Rishon LeZion, Israel.
This piece has been searched against the Art Loss Register database and has been cleared. The Art Loss Register maintains the world’s largest database of stolen art, collectibles, and antiques.
Provenance: private R. H. collection, Littleton, Colorado, USA
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#166846
Condition
The artwork has not been examined outside the frame but appears to be in excellent condition. It is signed by the artist in ink at lower center and numbered 57/180 in ink at the lower left.