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The geometrical Composition, which is dated to 1923, is one of Bortnyik's works which were discovered both by the critics and the audience in the 1960's and 1970's. From 1922 to 1924 the painter was working in Weimar, where he painted pictures of a high, international standard. In that phase Bortnyik turned away from the strict world of architecture picture and formed a characteristically ironic metaphysical constructivism. The picture under discussion is dated back to the time before this turning point, when the painter, working in the pull of Bauhaus, experienced with the possible ways of abstraction.
In 1922 Bortnyik, who had belonged to the circle of the famous Hungarian avantgarde magazine, MA (Today) before, came into a serious conflict with the leader of the group, Lajos Kassák. The seriousness of the conflict was also marked by Bortnyik's satire painted of Kassák, The Prophet. In the autumn of the same year the artist left Vienna and, accepting Farkas Molnár's invitation, he went to Weimar, where he joined the Hungarian colony living there. So, while Herwarth Walden exhibited Botnyik's pictures with a great success in Vienna, the young artist already studied new schools and methods in Germany. He met Vasily Kandinsky and Paul Klee and got into touch with Theo van Doesburgel as well.
Though Bortnyik was amazed by Paul Klee's works, he did not get into close relationship with the reserved master. As he said later, Klee had not been able to collect apprentices, and it had been Doesburgel around whom the young masters of the era had bunched together. Doesburgel arranged a private course in Weimar, which Bortnyik regularly visited in spite of Gropius's prohibition. Bortnyik was such a good terms with Doesburgel that he was given from him a Composition painted in the style of De Stijl.
Another Composition by Bortnyik suggests that the artist himself experienced also with the possibilities of the abstraction in the De Stijl-style. In that picture the colorful plain figures are held in unity by black rails of lines which is so characteristic of Mondrian's pictures and that of the artists circled around the magazine De Stijl. In the picture under discussion, the structure of colors is very similar to that of in the gauche mentioned above. However, it is an important difference that the black rail is left and the stripes of colors are tied in a slacker way. The more unbound structure and the mixed shades of colors, which are not characteristic of the De Stijl, evoke Klee's early painting, especially his Increase of Colors from Static to Dynamic, which was painted also in 1923.