Tanja Sinelnikow oil painting

This oil painting by Tanja Sinelnikow (1917–1976), signed “T S-w 57” is a compelling example of mid-20th-century concretism, a movement characterized by the use of non-representational, geometric forms with an emphasis on structural clarity and visual rhythm. Created in 1957, the work demonstrates Sinelnikow’s engagement with abstract formalism, conveyed through her precise use of color, shape, and spatial organization.

The composition is executed in oil on canvas and is defined by a dominant interplay of red and black fields, intersected and bisected by white linear elements that introduce sharp contrasts and structure to the image. The visual language is geometric but not rigid, featuring a mixture of angular and subtly curved forms that interlock and overlap, producing a layered, rhythmic tension. The bold use of red as a central field color adds intensity and warmth, while the black areas create visual depth. The white accents function as both separators and connectors, guiding the eye across the surface and emphasizing the internal dynamism of the composition.

The artist’s signature, abbreviated as “T S-w” and dated 1957, is located discreetly within the composition and confirms the work’s authorship and time of execution. The painting is mounted in a wooden frame that maintains a neutral, natural finish. The simplicity of the frame enhances the modernist character of the painting without detracting from its strong internal structure.

Condition-wise, the painting is very well preserved. The surface remains vibrant with no visible fading or loss of pigment, and the paint layers are stable with no signs of flaking or damage. The canvas is taut and undistorted, and the frame shows only minimal wear, contributing to the overall presentation and integrity of the piece.

Measuring 47 cm in width, 4.5 cm in depth, and 41 cm in height, the work is modest in scale but visually commanding. In inches, these dimensions correspond approximately to 18.5 inches wide, 1.8 inches deep, and 16.1 inches high. This painting is a rare and striking example of post-war Scandinavian concretism and a testament to Sinelnikow’s place within that visual tradition.