(Osijek 1924–2004 Paris)
AP 48 Méandres, 2004, signed and dated on the reverse as well as titled and dated on the stretcher, acrylic on canvas, 100 x 100 cm, on stretcher

The authenticity of this work has been confirmed by Ana Knifer.

We are grateful to the Galerie Gregor Podnar, Berlin and Galerie Frank Elbaz, Paris for their kind support.

Provenance:
Galerie Oniris, Rennes
acquired from the above by the present owner in 2005
Private Collection, Belgium

Julije Knifer’s oeuvre is centralised over the exploration of a single form – the meander, which started in the late 1950s and later developed into the single central point of his artistic production.

Knifer articulated the meander conceptually in his early sketches before he formally started painting the motif, and his life-long dedication to this simple form - the study of absence, the reduction and complete perfection in execution - reveals an artist who found his meditative outlet in the process of painting. Much like On Kawara in his Date Paintings, Knifer used a singular theme in his work to record the timeless existence and repetition of the purest, simplest form, creating calmness and beauty that exudes from these works.

In art iconography, the winding meander of the river has been used since the earliest artistic production and is considered a synonym for the eternal flow of life; however, to Knifer the meander was a key to a world in which chronology had no meaning, and a way of creating works that were beyond their singular self, but part of a group of works that he continued to paint until the very last days of life.

Gorgona group, which Knifer co-founded, was international both in its core activities and in its ethos. Archives of the group reveal regular exchanges between Croatian artists associated with the group and their international contemporaries, including Lucio Fontana, Robert Rauschenberg and Piero Manzoni. Furthermore, François Morellet, Piero Dorazio and Victor Vasarely exhibited with Gorgona in the first exhibition of the New Tendencies movement in Zagreb in 1961, which in turn was closely linked to the activities of the Azimuth group in Italy, the Nul in the Netherlands and ZERO in Germany.

Knifer represented Croatia in the 2001 Venice Biennale, and in 2014 the Museum of Contemporary Art in Zagreb mounted a full retrospective of his work.
He has exhibited at Centre Pompidou, Paris, MAMCO in Geneva and Museum of Contemporary Art, Sydney, and his works are in numerous private and public collections around the world, including the MOMA in New York and the National Gallery in Berlin.