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Auktionsarchiv: Los-Nr. 10

Sigmar Polke

Schätzpreis
2.500.000 £ - 3.500.000 £
ca. 3.266.308 $ - 4.572.832 $
Zuschlagspreis:
3.369.000 £
ca. 4.401.677 $
Auktionsarchiv: Los-Nr. 10

Sigmar Polke

Schätzpreis
2.500.000 £ - 3.500.000 £
ca. 3.266.308 $ - 4.572.832 $
Zuschlagspreis:
3.369.000 £
ca. 4.401.677 $
Beschreibung:

10 Property from a Private German Collection Sigmar Polke Follow Tänzerin signed and dated 'S Polke '94' on the reverse; further signed, dedicated and dated 'Sigmar Polke '94' on the stretcher acrylic and interference colour on canvas 100.5 x 80.3 cm (39 5/8 x 31 5/8 in.) Painted in 1994, this work will be included in the forthcoming catalogue raisonné.
Provenance Acquired directly from the artist by the present owner in 1994 Literature We would like to thank Michael Trier, Artistic Director for The Estate of Sigmar Polke for his assistance. Video Motion Capture: Looking at Sigmar Polke’s Tänzerin (Dancer) Tänzerin is an exceptional rarity in Polke's use of his most celebrated and iconic earlier technique of the hand-painted Raster and his prolific experimentations with color. Transcending the distinction between abstract and figurative, the work moves and transforms as light hits it's surface, inviting the viewer to move across the canvas. Chairman Cheyenne Westphal elaborates on the work's genesis. Catalogue Essay Oscillating in colour and playful in her elegance, evoking the graceful movement of a dancer, Tänzerin (Dancer) is an exceptional example of Sigmar Polke’s celebrated Rasterbilder ( Raster paintings). Emblematic of the artist’s mastery of alchemy and experimentation with optical effects, Tänzerin serves as a rare and magisterial synthesis of Polke’s artistic explorations. At the locus of his experiments with alchemy, this exceptional work has remained within a private German collection since its execution in 1994 and has never before been seen outside this setting. Exemplary of Polke’s extensive analysis of aesthetics through materials and investigation into social and cultural models, the present work is a mirage of the artist’s creativity. Tänzerin is an exceptional rarity in Polke’s use of his most celebrated and iconic earlier technique of the hand-painted Raster and his prolific experimentations with colour. Having been trained as a stained glass worker in his youth, the artist remained fascinated by transparency and translucency and the effects of light on perception. The luminosity of the present work, a rigorous and graceful illusion, exposes this fascination with light. Here, his use of interference colour is exemplary of his continued experimentation with chemicals and perfected technique of rigorously hand-painted specs. Embodying how Polke transcends the distinction between the abstract and the figurative, Tänzerin is rare amidst his creative output of the 1990s. The elegant dancer, a perfected example, emerges through a web of pointillism that instils expressive force into the composition. Viewed within the context of other partial Raster paintings from the period, Kleiner Mann (Small Man), 1986 - 1992 (Museum Frieder Burda, Baden-Baden) and Grosser Mann (Large Man), 1986 - 1992 (Museum Frieder Burda, Baden-Baden), Tänzerin, is elevated, a refined and complete example of the artist’s masterful technique, the dancer emerging through a fabric of dots spanning the complete picture plane. Exploring colour through the 1970s, 1980s and 1990s, Polke became an alchemist of sorts, mixing and experimenting with new materials and pigments. Culminating in Athanor , the artist’s project for the Pavilion of the Federal Republic of Germany during the Venice Biennale of 1986 for which he was awarded the Golden Lion Grand Prize for Painting, Polke’s fascination with alchemy was highlighted alongside his concern for manipulating and deconstructing imagery. Epitomising his distinguished use of chemistry and Raster , Athanor explored the variable and erratic effects of colour, temperature, light and tone, in a new collection of forms. Spots, drips, coatings and emulsions fused together, inviting the viewer to explore the picture plane and trace the outline of Polke’s subject matter. Here, another seemingly monochromatic Raster painting, Polizeischwein (Police Pig), 1986, was exhibited alongside other works presenting his mastery of alchemy. Set against the chemical experiments of other works, Polizeischwein demonstrated the artists continued concern with reproducing his ‘ Rastered’ photographic weave. Harnessing these experimentations, expertly synthesising his early technique with the visual alchemy of tone, Tänzerin transports the viewer to the very origin of Polke’s

Auktionsarchiv: Los-Nr. 10
Auktion:
Datum:
06.10.2017
Auktionshaus:
Phillips
London
Beschreibung:

10 Property from a Private German Collection Sigmar Polke Follow Tänzerin signed and dated 'S Polke '94' on the reverse; further signed, dedicated and dated 'Sigmar Polke '94' on the stretcher acrylic and interference colour on canvas 100.5 x 80.3 cm (39 5/8 x 31 5/8 in.) Painted in 1994, this work will be included in the forthcoming catalogue raisonné.
Provenance Acquired directly from the artist by the present owner in 1994 Literature We would like to thank Michael Trier, Artistic Director for The Estate of Sigmar Polke for his assistance. Video Motion Capture: Looking at Sigmar Polke’s Tänzerin (Dancer) Tänzerin is an exceptional rarity in Polke's use of his most celebrated and iconic earlier technique of the hand-painted Raster and his prolific experimentations with color. Transcending the distinction between abstract and figurative, the work moves and transforms as light hits it's surface, inviting the viewer to move across the canvas. Chairman Cheyenne Westphal elaborates on the work's genesis. Catalogue Essay Oscillating in colour and playful in her elegance, evoking the graceful movement of a dancer, Tänzerin (Dancer) is an exceptional example of Sigmar Polke’s celebrated Rasterbilder ( Raster paintings). Emblematic of the artist’s mastery of alchemy and experimentation with optical effects, Tänzerin serves as a rare and magisterial synthesis of Polke’s artistic explorations. At the locus of his experiments with alchemy, this exceptional work has remained within a private German collection since its execution in 1994 and has never before been seen outside this setting. Exemplary of Polke’s extensive analysis of aesthetics through materials and investigation into social and cultural models, the present work is a mirage of the artist’s creativity. Tänzerin is an exceptional rarity in Polke’s use of his most celebrated and iconic earlier technique of the hand-painted Raster and his prolific experimentations with colour. Having been trained as a stained glass worker in his youth, the artist remained fascinated by transparency and translucency and the effects of light on perception. The luminosity of the present work, a rigorous and graceful illusion, exposes this fascination with light. Here, his use of interference colour is exemplary of his continued experimentation with chemicals and perfected technique of rigorously hand-painted specs. Embodying how Polke transcends the distinction between the abstract and the figurative, Tänzerin is rare amidst his creative output of the 1990s. The elegant dancer, a perfected example, emerges through a web of pointillism that instils expressive force into the composition. Viewed within the context of other partial Raster paintings from the period, Kleiner Mann (Small Man), 1986 - 1992 (Museum Frieder Burda, Baden-Baden) and Grosser Mann (Large Man), 1986 - 1992 (Museum Frieder Burda, Baden-Baden), Tänzerin, is elevated, a refined and complete example of the artist’s masterful technique, the dancer emerging through a fabric of dots spanning the complete picture plane. Exploring colour through the 1970s, 1980s and 1990s, Polke became an alchemist of sorts, mixing and experimenting with new materials and pigments. Culminating in Athanor , the artist’s project for the Pavilion of the Federal Republic of Germany during the Venice Biennale of 1986 for which he was awarded the Golden Lion Grand Prize for Painting, Polke’s fascination with alchemy was highlighted alongside his concern for manipulating and deconstructing imagery. Epitomising his distinguished use of chemistry and Raster , Athanor explored the variable and erratic effects of colour, temperature, light and tone, in a new collection of forms. Spots, drips, coatings and emulsions fused together, inviting the viewer to explore the picture plane and trace the outline of Polke’s subject matter. Here, another seemingly monochromatic Raster painting, Polizeischwein (Police Pig), 1986, was exhibited alongside other works presenting his mastery of alchemy. Set against the chemical experiments of other works, Polizeischwein demonstrated the artists continued concern with reproducing his ‘ Rastered’ photographic weave. Harnessing these experimentations, expertly synthesising his early technique with the visual alchemy of tone, Tänzerin transports the viewer to the very origin of Polke’s

Auktionsarchiv: Los-Nr. 10
Auktion:
Datum:
06.10.2017
Auktionshaus:
Phillips
London
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