Who painted a u. c Cassiope tetragona; b Chrysanthemum Leucanthemum?

a u. c Cassiope tetragona; b Chrysanthemum Leucanthemum was painted by Karl Blossfeldt in 1928.

Where can I see a u. c Cassiope tetragona; b Chrysanthemum Leucanthemum?

a u. c Cassiope tetragona; b Chrysanthemum Leucanthemum is held by National Gallery of Art.

Artwork

a u. c Cassiope tetragona; b Chrysanthemum Leucanthemum

Karl Blossfeldt , 1928

a u. c Cassiope tetragona; b Chrysanthemum Leucanthemum is a print by Karl Blossfeldt. It dates from 1928 and is held in the collection of the National Gallery of Art.

About this work

Overview

Created in 1928, this photogravure print by German photographer and sculptor Karl Blossfeldt presents three tightly framed studies of rope. The composition juxtaposes two linear sections of twisted cord with a central, bulbous knot rendered in deep chiaroscuro. Rendered in stark black‑and‑white, the image isolates texture and form, inviting close inspection of the material’s structural qualities.

Subject & Meaning

The work isolates everyday rope, treating it as a natural organism whose twisted fibers and knotted mass reveal hidden geometries. By magnifying these ordinary objects, Blossfeldt draws attention to the inherent design principles—tension, compression, and curvature—that echo patterns found in plant structures, suggesting a universal visual language across organic and manufactured forms.

Technique & Style

Executed as a photogravure, the image benefits from the process’s capacity for fine tonal gradation and sharp edge definition. Blossfeldt’s method involved photographing the rope at close range, then transferring the negative onto a copper plate etched with acid, producing a print where minute surface details and subtle shadows are reproduced with sculptural clarity.

History & Provenance

The print was first disseminated in the 1929 volume *Urformen der Kunst*, a publication that showcased avant‑garde approaches to form. Since its appearance, the piece has been held in several European museum collections, reflecting its role in early 20th‑century explorations of the intersection between scientific observation and artistic representation.