![konrad fischer konrad fischer](https://markt.idowa.de/visible/production/fast/0/2018/7/26/1Jp5h1/779379/tall.jpg)
Again, I can’t help but see Martin’s influence everywhere in this exhibition. I admit to not being a great fan of LeWitt, and conceptual art in general tends to leave me cold, but the soft and warm tones utilized in these paintings make them quite rewarding and harmonious. Throughout, the colors manage to pull off both a bright and pastel effect simultaneously – a seemingly contradictory feat, but ultimately a rewarding one. The colors selected here are a yellow, a blue-green (hinting slightly at the greens seen in the previous two pieces, but this one is more marine), a narrow gray sliver lightly textured like a rocky crag, an orange somewhere between the previous two oranges in tonality, and a green-yellow that resonates with the premiere horizontal stripe in #571A. The final, and largest of the three, Wall Drawing #578, also gives the draftsman the largest degree of freedom a wall is to be divided into six unequal vertical parts and colored with color ink washes superimposed, but LeWitt does not specify which colors or the size of each section.
![konrad fischer konrad fischer](https://trauer.infranken.de/MEDIASERVER/content/LH103/obi_new/2018_11/Konrad-Fischer-Traueranzeige-12e628af-f638-4fb0-9920-49a1c6d6fb24.jpg)
This wasn’t specified in the artist’s instructions, but adds a meditative resonance to the overall composition of the exhibition. Wall Drawing #576A, surrounded by a bright blue band, seems almost an amplification, in terms of brightness, of the last three colors in #571A. As per LeWitt’s instructions, each band is rendered in colored ink washes, giving the colors a velvety, textured, tactile appearance to which reproduction does a major disservice. Contained within a (painted) black frame, five thick equal bands stretch horizontally across the wall, immediately confronting the viewer upon entering the gallery: a yellowish green, a red, a darker green, a purplish blue velvet, and an orange. The first, Wall Drawing #571A, in its formal execution, calls to mind the horizontal line paintings of Agnes Martin, though her palette is typically more restrained, and thus the overall effect is not nearly as reticent as in a Martin.
![konrad fischer konrad fischer](https://trauer.schwaebische.de/MEDIASERVER/content/LH88/obi/6230a51327b54b74a6a3300857dc08dc.jpg)
The latest exhibition of Sol LeWitt consists of three of the artist’s large wall drawings. Courtesy of the artist and Konrad Fischer Galerie