Premium-Seiten ohne Registrierung:

Auktionsarchiv: Los-Nr. 23

Willem de Kooning

Schätzpreis
4.000.000 $ - 6.000.000 $
Zuschlagspreis:
3.442.500 $
Auktionsarchiv: Los-Nr. 23

Willem de Kooning

Schätzpreis
4.000.000 $ - 6.000.000 $
Zuschlagspreis:
3.442.500 $
Beschreibung:

23 Willem de Kooning Untitled XVIII 1984 oil on canvas 88 x 77 in. (223.5 x 195.6 cm) Signed “de Kooning” on the stretcher.
Provenance Acquired directly from the artist, 1985 Xavier Fourcade, Inc., New York Mitchell-Innes & Nash, New York Matthew Marks Gallery, New York Exhibited Cambridge, Massachusetts, Arthur M. Sackler Museum, Harvard University, Jasper Johns Richard Serra and Willem de Kooning Works Loaned by Artists in Honor of Neil and Angelica Rudenstine, January 18 – August 9, 1992 Bremen, Neues Museum Weserburg, In Vollkommener Freiheit: Picasso, Guston, Miro, de Kooning/Painting for Themselves: Late Works: Picasso, Guston, Miro, de Kooning, October 20, 1996 – February 7, 1997 New York, Mitchell-Innes & Nash, Willem de Kooning Vellums, March 21 – April 21, 2001 Literature M. Corral, H. Zech, D. Cameron In Vollkommener Freiheit: Picasso, Guston, Miro, de Kooning/Painting for Themselves: Late Works: Picasso, Guston, Miro, de Kooning, Bremen, 1996, p. 183, pl. 8 (illustrated) M. Kimmelman. “The Lives They Lived; Life is Short, Art is Long,” The New York Times Magazine, January 4, 1998, p. 20 (illustrated) Catalogue Essay Perhaps one reason that Willem de Kooning has been so energetically embraced as an American artist is his relentless devotion to optimism. In his seven-decade career, one wholly rooted in the joy of light both in composition and in subject, de Kooning found it difficult to resist the impulse to revel in the charm of existence; even in his early years, through the dark of the 1930s, his “light-filled colors differ diametrically from the muddy tones employed by the majority of Depression-period artists”(P. Cummings, “The Drawings of Willem de Kooning”, Willem de Kooning Drawings, Paintings, Sculpture, New York, 1983, p. 13). While light had always permeated his earlier paintings to an elated end, he had yet to reach the grand finale of the 1980s, where a marriage of movement and illumination would reach a rapturous peak, as exemplified in the present lot, Untitled XVIII, 1984. Though, toward the end of the 1970s, de Kooning’s much-celebrated artistic career became subject to the demons of addiction and an aging mind and body, he was able to revive his painting career in dramatic form, adopting a modern master as his muse: “When I met him in 1979, he was taking some time off from painting, but he was thinking about it a lot and spoke about the desire to change his way of working. Matisse was the artist he chose to guide him through the change and the thing he most admired about Matisse was what he referred to as ‘that floating quality’(a la ‘Dance’). He also wanted to move away from the cubist structures of Cezanne and Picasso and toward the loose, organic structures of Matisse. Basically, he chose to move from the anchored figure/ground relationship and toward one that floats.” (T. Ferrara, “Remembering de Kooning”, Willem de Kooning 1981-1986, New York, 2007, p. 75). In 1981, he rapidly began to produce many of his most minimalist, sensuous, and beautiful paintings. As his output became increasingly prolific in the 1980s, de Kooning devised multiple techniques to alleviate the physical demands of the aging artist’s creative yield. Among them was a mechanical easel, which could be rotated 360 degrees and raised or lowered as de Kooning saw fit. In addition, de Kooning regularly placed foam behind a stretched canvas, allowing him to paint or scrape with greater pressure without tearing the surface. This proved immensely useful, as the wizened master still painted with intimidating intensity; de Kooning’s immense career of seeing and making art culminated with a rich display of technical bravura, as he scraped with a spatula, sanded, and used his fingers and palms with ferocious vigor. In keeping with chosen guide, he also utilized Henri Matisse’s own compositional techniques—he spackled his studio floor white to bounce light onto his canvasses, much as Matisse famously covered his grounds with newspapers. De Kooning also duplicated Matisse’s use of an external memory: he photographed the stageby- stage development of a can

Auktionsarchiv: Los-Nr. 23
Auktion:
Datum:
07.11.2011
Auktionshaus:
Phillips
New York
Beschreibung:

23 Willem de Kooning Untitled XVIII 1984 oil on canvas 88 x 77 in. (223.5 x 195.6 cm) Signed “de Kooning” on the stretcher.
Provenance Acquired directly from the artist, 1985 Xavier Fourcade, Inc., New York Mitchell-Innes & Nash, New York Matthew Marks Gallery, New York Exhibited Cambridge, Massachusetts, Arthur M. Sackler Museum, Harvard University, Jasper Johns Richard Serra and Willem de Kooning Works Loaned by Artists in Honor of Neil and Angelica Rudenstine, January 18 – August 9, 1992 Bremen, Neues Museum Weserburg, In Vollkommener Freiheit: Picasso, Guston, Miro, de Kooning/Painting for Themselves: Late Works: Picasso, Guston, Miro, de Kooning, October 20, 1996 – February 7, 1997 New York, Mitchell-Innes & Nash, Willem de Kooning Vellums, March 21 – April 21, 2001 Literature M. Corral, H. Zech, D. Cameron In Vollkommener Freiheit: Picasso, Guston, Miro, de Kooning/Painting for Themselves: Late Works: Picasso, Guston, Miro, de Kooning, Bremen, 1996, p. 183, pl. 8 (illustrated) M. Kimmelman. “The Lives They Lived; Life is Short, Art is Long,” The New York Times Magazine, January 4, 1998, p. 20 (illustrated) Catalogue Essay Perhaps one reason that Willem de Kooning has been so energetically embraced as an American artist is his relentless devotion to optimism. In his seven-decade career, one wholly rooted in the joy of light both in composition and in subject, de Kooning found it difficult to resist the impulse to revel in the charm of existence; even in his early years, through the dark of the 1930s, his “light-filled colors differ diametrically from the muddy tones employed by the majority of Depression-period artists”(P. Cummings, “The Drawings of Willem de Kooning”, Willem de Kooning Drawings, Paintings, Sculpture, New York, 1983, p. 13). While light had always permeated his earlier paintings to an elated end, he had yet to reach the grand finale of the 1980s, where a marriage of movement and illumination would reach a rapturous peak, as exemplified in the present lot, Untitled XVIII, 1984. Though, toward the end of the 1970s, de Kooning’s much-celebrated artistic career became subject to the demons of addiction and an aging mind and body, he was able to revive his painting career in dramatic form, adopting a modern master as his muse: “When I met him in 1979, he was taking some time off from painting, but he was thinking about it a lot and spoke about the desire to change his way of working. Matisse was the artist he chose to guide him through the change and the thing he most admired about Matisse was what he referred to as ‘that floating quality’(a la ‘Dance’). He also wanted to move away from the cubist structures of Cezanne and Picasso and toward the loose, organic structures of Matisse. Basically, he chose to move from the anchored figure/ground relationship and toward one that floats.” (T. Ferrara, “Remembering de Kooning”, Willem de Kooning 1981-1986, New York, 2007, p. 75). In 1981, he rapidly began to produce many of his most minimalist, sensuous, and beautiful paintings. As his output became increasingly prolific in the 1980s, de Kooning devised multiple techniques to alleviate the physical demands of the aging artist’s creative yield. Among them was a mechanical easel, which could be rotated 360 degrees and raised or lowered as de Kooning saw fit. In addition, de Kooning regularly placed foam behind a stretched canvas, allowing him to paint or scrape with greater pressure without tearing the surface. This proved immensely useful, as the wizened master still painted with intimidating intensity; de Kooning’s immense career of seeing and making art culminated with a rich display of technical bravura, as he scraped with a spatula, sanded, and used his fingers and palms with ferocious vigor. In keeping with chosen guide, he also utilized Henri Matisse’s own compositional techniques—he spackled his studio floor white to bounce light onto his canvasses, much as Matisse famously covered his grounds with newspapers. De Kooning also duplicated Matisse’s use of an external memory: he photographed the stageby- stage development of a can

Auktionsarchiv: Los-Nr. 23
Auktion:
Datum:
07.11.2011
Auktionshaus:
Phillips
New York
LotSearch ausprobieren

Testen Sie LotSearch und seine Premium-Features 7 Tage - ohne Kosten!

  • Auktionssuche und Bieten
  • Preisdatenbank und Analysen
  • Individuelle automatische Suchaufträge
Jetzt einen Suchauftrag anlegen!

Lassen Sie sich automatisch über neue Objekte in kommenden Auktionen benachrichtigen.

Suchauftrag anlegen