Example
CEILING, 2016 </br> 30×24 cm, tempera on canvas GATE, 2017 </br> 30×24 cm, tempera on panel WALL, 2017 </br> 30×24 cm, tempera on canvas CEILING, 2016 </br> 40×30 cm, tempera on panel STAIRS, 2017 </br> 70×100 cm, tempera on panel CEILING, 2016 </br> 30×40 cm, tempera on panel FRA, 2016 </br> 20×60 cm, tempera on canvas NICHE, 2016 </br> 30×24 cm, tempera on canvas MORONI, 2017 </br> 80×50 cm, tempera on panel SAENREDAM, 2016 </br> 30×24 cm, tempera on panel EYCK, 2017 </br> 30×24 cm, tempera on panel GLAZE, 2017 </br> 40×30 cm, tempera on canvas FLOOR, 2016 </br> 40×50 cm, tempera on canvas CEILING, 2016 </br> 40×50 cm, tempera on canvas REVISION, 2016 </br> 40×60 cm, tempera on canvas BUDAPEST, 2016 </br> 40×30 cm, tempera on panel ORATORIO, 2017 </br> 40×30 cm, tempera on panel SASETTA, 2017 </br> 30×24 cm, tempera on panel THEATRE, 2017 </br> 65×50 cm, tempera on canvas ST. THOMAS, 2017 </br> 40×30 cm, tempera on panel
Le Corbusier called a man a geometrical animal. Saenredam's church interiors, cleared of figuration according to the assumptions of Protestantism, compared with the interiors of Modernist gallery reveal their various, not only visual relations. It has been long since ambitions of modern abstraction to compensate religious needs was first noticed. While Early Modern religious art tending towards literature was based on narrative and persuasiveness, iconoclasm and constructivism resign from both of these qualities, aiming to rehabilitate what Renaissance left for the crafts: geometry and non-objectivity. Having noticed this, Gottfried Boehm points to a paradoxical relation between metaphysics and applied art: Modernist geometrical abstraction has always been disguised in temple facades and floors.