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Auktionsarchiv: Los-Nr. 10

Damien Hirst

Schätzpreis
1.200.000 $ - 1.800.000 $
Zuschlagspreis:
1.426.500 $
Auktionsarchiv: Los-Nr. 10

Damien Hirst

Schätzpreis
1.200.000 $ - 1.800.000 $
Zuschlagspreis:
1.426.500 $
Beschreibung:

10 PROPERTY OF AN IMPORTANT PRIVATE COLLECTION Damien Hirst Disintegration - The Crown of Life 2006 butterflies and household gloss on canvas unframed: 110 3/8 x 72 1/8 in. (280.4 x 183.2 cm) framed: 117 3/4 x 78 3/4 in. (299.1 x 200 cm) Signed, titled and dated “Damien Hirst, ‘The Crown of Life,’ 2006” on the reverse.
Provenance Gagosian Gallery, Los Angeles Exhibited Los Angeles, Gagosian Gallery, Damien Hirst Superstition, February 22 – April 5, 2007 Literature M. Wilner, Damien Hirst Superstition, London, 2007, p. 45 (illustrated) Catalogue Essay I want to make artwork that makes people question their own lives, rather than give them any answers. Because answers always turn out to be wrong further down the line, but questions are exciting forever. DAMIEN HIRST (Damien Hirst “Interview with Robert Ayers”, ARTINFO, March 14, 2007). A keystone of Damien Hirst’s 2006 series, “Superstition”, the present lot, Disintegration-The Crown of Life, 2006 possesses an epic scale matched only by its magnificent ability to dazzle. Each canvas from the series is comprised of thousands of gossamer butterfly wings laid on a monochromatic surface. Long before one perceives the meticulous detail of the surface, the sheer scale of the work radiates with a celestial brilliance. Emulating the splendor of cathedral windows, the shaped canvas is placed in a black frame to further allude to a pane of stained glass. As seen in the present lot, the radiating patterns created by the painstaking placement of the wings mesmerize the viewer like a kaleidoscope. The pulsating forms are spellbinding in their symmetry, regularity, and sheer magnitude. Experiencing these canvases can only be compared to the overwhelming power and majesty felt when walking towards the illuminated nave of a Thirteenth Century gothic cathedral— Chartres, Canterbury, Notre-Dame de Paris, or Reims. The viewer becomes so seduced by the irresistible beauty and spiritual power that the shocking nature of the work’s construction—thousands of dead butterflies trapped on wet paint—is thwarted by its visual splendor. Each painting in Hirst’s series “Superstition” has two titles. The first is taken from a poem in Philip Larkin’s 1974 collection High Windows. Larkin is considered one of the greatest English poets of the latter half of the Twentieth Century. His poems, at once nihilistic and immensely spiritual, seek to convey the discontented and pessimistic sentiments of postwar Great Britain. Through a colloquial voice, Larkin explores the hardships of life that the lower classes were fated to face. His poems succeed in being both resonantly beautiful and profoundly disturbing in their reflections on remorse, age, and spoiled desire. In the final stanza of Disintegration, Larkin writes, “Time over the roofs of what has nearly been/Circling, a migratory, static bird/Predicts no change in future’s lancing shape/And daylight shows the streets still tangles up/Time points the simian camera in the head/Upon confusion to be seen and seen.” Larkin’s haunting ambiguity makes perfect fodder for Hirst’s exploration of life and death. The second half of each title within the series is drawn directly from religious texts; in the case of the present lot, the title “The Crown of Life” is taken from The Epistle of James, Chapter 1, Verse 12, and promises God’s blessing to those who persevere under trial: Blessed is the one who perseveres under trial because, having stood the test, that person will receive the crown of life that the Lord has promised to those who love him. When tempted, no one should say, “God is tempting me.” For God cannot be tempted by evil, nor does he tempt anyone; but each person is tempted when they are dragged away by their own evil desire and enticed. Then, after desire has conceived, it gives birth to sin; and sin, when it is full-grown, gives birth to death. (James 1:12 – 1:15 Receiving The Crown of Life) This verse, coupled with Larkin’s lyrical passage, produces a title that encapsulates the artist’s penchant for finding poetry in the way we live and in our surroundings. Taking as his subject matter our natural environment, Hirst employs macabre elements not only as inspiration, but also as the actual make up of the work. Butterflies, both living and dead, have been central to the arti

Auktionsarchiv: Los-Nr. 10
Auktion:
Datum:
07.11.2011
Auktionshaus:
Phillips
New York
Beschreibung:

10 PROPERTY OF AN IMPORTANT PRIVATE COLLECTION Damien Hirst Disintegration - The Crown of Life 2006 butterflies and household gloss on canvas unframed: 110 3/8 x 72 1/8 in. (280.4 x 183.2 cm) framed: 117 3/4 x 78 3/4 in. (299.1 x 200 cm) Signed, titled and dated “Damien Hirst, ‘The Crown of Life,’ 2006” on the reverse.
Provenance Gagosian Gallery, Los Angeles Exhibited Los Angeles, Gagosian Gallery, Damien Hirst Superstition, February 22 – April 5, 2007 Literature M. Wilner, Damien Hirst Superstition, London, 2007, p. 45 (illustrated) Catalogue Essay I want to make artwork that makes people question their own lives, rather than give them any answers. Because answers always turn out to be wrong further down the line, but questions are exciting forever. DAMIEN HIRST (Damien Hirst “Interview with Robert Ayers”, ARTINFO, March 14, 2007). A keystone of Damien Hirst’s 2006 series, “Superstition”, the present lot, Disintegration-The Crown of Life, 2006 possesses an epic scale matched only by its magnificent ability to dazzle. Each canvas from the series is comprised of thousands of gossamer butterfly wings laid on a monochromatic surface. Long before one perceives the meticulous detail of the surface, the sheer scale of the work radiates with a celestial brilliance. Emulating the splendor of cathedral windows, the shaped canvas is placed in a black frame to further allude to a pane of stained glass. As seen in the present lot, the radiating patterns created by the painstaking placement of the wings mesmerize the viewer like a kaleidoscope. The pulsating forms are spellbinding in their symmetry, regularity, and sheer magnitude. Experiencing these canvases can only be compared to the overwhelming power and majesty felt when walking towards the illuminated nave of a Thirteenth Century gothic cathedral— Chartres, Canterbury, Notre-Dame de Paris, or Reims. The viewer becomes so seduced by the irresistible beauty and spiritual power that the shocking nature of the work’s construction—thousands of dead butterflies trapped on wet paint—is thwarted by its visual splendor. Each painting in Hirst’s series “Superstition” has two titles. The first is taken from a poem in Philip Larkin’s 1974 collection High Windows. Larkin is considered one of the greatest English poets of the latter half of the Twentieth Century. His poems, at once nihilistic and immensely spiritual, seek to convey the discontented and pessimistic sentiments of postwar Great Britain. Through a colloquial voice, Larkin explores the hardships of life that the lower classes were fated to face. His poems succeed in being both resonantly beautiful and profoundly disturbing in their reflections on remorse, age, and spoiled desire. In the final stanza of Disintegration, Larkin writes, “Time over the roofs of what has nearly been/Circling, a migratory, static bird/Predicts no change in future’s lancing shape/And daylight shows the streets still tangles up/Time points the simian camera in the head/Upon confusion to be seen and seen.” Larkin’s haunting ambiguity makes perfect fodder for Hirst’s exploration of life and death. The second half of each title within the series is drawn directly from religious texts; in the case of the present lot, the title “The Crown of Life” is taken from The Epistle of James, Chapter 1, Verse 12, and promises God’s blessing to those who persevere under trial: Blessed is the one who perseveres under trial because, having stood the test, that person will receive the crown of life that the Lord has promised to those who love him. When tempted, no one should say, “God is tempting me.” For God cannot be tempted by evil, nor does he tempt anyone; but each person is tempted when they are dragged away by their own evil desire and enticed. Then, after desire has conceived, it gives birth to sin; and sin, when it is full-grown, gives birth to death. (James 1:12 – 1:15 Receiving The Crown of Life) This verse, coupled with Larkin’s lyrical passage, produces a title that encapsulates the artist’s penchant for finding poetry in the way we live and in our surroundings. Taking as his subject matter our natural environment, Hirst employs macabre elements not only as inspiration, but also as the actual make up of the work. Butterflies, both living and dead, have been central to the arti

Auktionsarchiv: Los-Nr. 10
Auktion:
Datum:
07.11.2011
Auktionshaus:
Phillips
New York
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