Premium-Seiten ohne Registrierung:

Auktionsarchiv: Los-Nr. 24

George Condo

Schätzpreis
600.000 £ - 800.000 £
ca. 828.248 $ - 1.104.331 $
Zuschlagspreis:
1.329.000 £
ca. 1.834.571 $
Auktionsarchiv: Los-Nr. 24

George Condo

Schätzpreis
600.000 £ - 800.000 £
ca. 828.248 $ - 1.104.331 $
Zuschlagspreis:
1.329.000 £
ca. 1.834.571 $
Beschreibung:

◆ 24 George Condo Follow Woman & Man signed and dated 'Condo '08' on the reverse oil on canvas, in artist's frame 221.5 x 195.8 cm (87 1/4 x 77 1/8 in.) Painted in 2008.
Provenance Luhring Augustine, New York Gary Tatintsian Gallery, Inc., Moscow Private Collection, Russia (acquired from the above) Phillips, London, 9 February 2016, lot 43 Acquired at the above sale by the present owner Exhibited Moscow, Gary Tatintsian Gallery, Inc., George Condo Artificial Realism , 15 May - 14 August 2008, p. 20 (illustrated, pp. 21-23) Catalogue Essay Bridging the grotesque and the beautiful in Woman & Man , George Condo masterfully deconstructs the complex workings of the mind and human perception. Uniting elements of Old Master painting with those of late Modernists, Condo forms a labyrinthine amalgamation of style that is both expressive and replete with rich art historical references. Just as Condo manipulates his painterly subjects, he manipulates the emotions of his viewers who are left in an uncomfortable state of turmoil, reflective of the painting’s oscillation between contradictory emotional states. It is not just time whose boundaries are warped and obliterated in Condo’s paintings. Terming his style ‘psychological cubism’, Condo erases preconceived notions of visual perception. Presenting the viewer with psychological images representative of what the mind, not the eye, sees, his images sway into caricature as the inner states of their subjects are pulled forward and refracted across the composition. The viewer is pulled into the portrait’s visceral intensity. Teeth, visible in many of Condo’s portraits, especially those of his signature recurring fictional character Rodrigo, are reminiscent of the haunting teeth evident in the canvases of Francis Bacon Each artist externalises the internal. Drawing on myriad influences, Condo builds new layers into his already multi-faceted psychological cubism, three different sets of teeth are presented in conflicting styles and viewpoints. Condo’s experimentation with line and form, in accordance with the bold use of colour, attributes the canvas its own discordant lyricism as the viewer’s eye is softly led up the gentle curve of the woman’s hair before reaching its violent crescendo in the man’s agonised expression. The strong jaw and classically rounded breasts of the woman resemble the conventional figures of Pablo Picasso’s Three Women at the Spring, 1921, and yet the abstraction inevitably draws comparisons with Picasso’s cubist portraits. The enmeshed male and female figures in Woman and Man also echo Picasso’s abstracted lovers whilst bordering on the disconcerting. Fluctuating between tenderness, intimacy and an aggressive invasion of each other’s beings, their psychological states bleed into one another and filter into the crimson backdrop. This application of a single block red colour, in addition to the cubist presentation of picture planes, flattens the canvas and acts as a psychosomatic springboard upon which the viewer’s emotions are guided. The unnervingly sweet smile of the woman is rendered particularly disturbing through her counterpart’s abject horror. A single eye situated centrally and closed off in its own yellow triangle alludes to the all-seeing eye of God, or providence, and penetrates the viewer in its attempt to free us from traditional ways of viewing art. Initially working for Andy Warhol at the Factory in New York in the 1980s, Condo left to pursue his own artistic technique. Diverging from the styles employed by fellow artists, Condo was heavily influenced by Francisco Goya, Frans Hals Willem de Kooning and Picasso: ‘There was a new wave of figurative art going on in New York then, with Basquiat, and Schnabel, and Keith Haring and a few others, but I didn’t want to be part of that. I felt I had to come back to New York with a statement that would stand up against Andy Warhol’s soup cans. And the irony was that it turned out to be Old Master painting’ (George Condo quoted in Calvin Tomkins, ‘Portraits of Imaginary People’, The New Yorker , 17 January 2011, online). Fascinated by the emotional expressionism prevalent in Old

Auktionsarchiv: Los-Nr. 24
Auktion:
Datum:
08.03.2018
Auktionshaus:
Phillips
London
Beschreibung:

◆ 24 George Condo Follow Woman & Man signed and dated 'Condo '08' on the reverse oil on canvas, in artist's frame 221.5 x 195.8 cm (87 1/4 x 77 1/8 in.) Painted in 2008.
Provenance Luhring Augustine, New York Gary Tatintsian Gallery, Inc., Moscow Private Collection, Russia (acquired from the above) Phillips, London, 9 February 2016, lot 43 Acquired at the above sale by the present owner Exhibited Moscow, Gary Tatintsian Gallery, Inc., George Condo Artificial Realism , 15 May - 14 August 2008, p. 20 (illustrated, pp. 21-23) Catalogue Essay Bridging the grotesque and the beautiful in Woman & Man , George Condo masterfully deconstructs the complex workings of the mind and human perception. Uniting elements of Old Master painting with those of late Modernists, Condo forms a labyrinthine amalgamation of style that is both expressive and replete with rich art historical references. Just as Condo manipulates his painterly subjects, he manipulates the emotions of his viewers who are left in an uncomfortable state of turmoil, reflective of the painting’s oscillation between contradictory emotional states. It is not just time whose boundaries are warped and obliterated in Condo’s paintings. Terming his style ‘psychological cubism’, Condo erases preconceived notions of visual perception. Presenting the viewer with psychological images representative of what the mind, not the eye, sees, his images sway into caricature as the inner states of their subjects are pulled forward and refracted across the composition. The viewer is pulled into the portrait’s visceral intensity. Teeth, visible in many of Condo’s portraits, especially those of his signature recurring fictional character Rodrigo, are reminiscent of the haunting teeth evident in the canvases of Francis Bacon Each artist externalises the internal. Drawing on myriad influences, Condo builds new layers into his already multi-faceted psychological cubism, three different sets of teeth are presented in conflicting styles and viewpoints. Condo’s experimentation with line and form, in accordance with the bold use of colour, attributes the canvas its own discordant lyricism as the viewer’s eye is softly led up the gentle curve of the woman’s hair before reaching its violent crescendo in the man’s agonised expression. The strong jaw and classically rounded breasts of the woman resemble the conventional figures of Pablo Picasso’s Three Women at the Spring, 1921, and yet the abstraction inevitably draws comparisons with Picasso’s cubist portraits. The enmeshed male and female figures in Woman and Man also echo Picasso’s abstracted lovers whilst bordering on the disconcerting. Fluctuating between tenderness, intimacy and an aggressive invasion of each other’s beings, their psychological states bleed into one another and filter into the crimson backdrop. This application of a single block red colour, in addition to the cubist presentation of picture planes, flattens the canvas and acts as a psychosomatic springboard upon which the viewer’s emotions are guided. The unnervingly sweet smile of the woman is rendered particularly disturbing through her counterpart’s abject horror. A single eye situated centrally and closed off in its own yellow triangle alludes to the all-seeing eye of God, or providence, and penetrates the viewer in its attempt to free us from traditional ways of viewing art. Initially working for Andy Warhol at the Factory in New York in the 1980s, Condo left to pursue his own artistic technique. Diverging from the styles employed by fellow artists, Condo was heavily influenced by Francisco Goya, Frans Hals Willem de Kooning and Picasso: ‘There was a new wave of figurative art going on in New York then, with Basquiat, and Schnabel, and Keith Haring and a few others, but I didn’t want to be part of that. I felt I had to come back to New York with a statement that would stand up against Andy Warhol’s soup cans. And the irony was that it turned out to be Old Master painting’ (George Condo quoted in Calvin Tomkins, ‘Portraits of Imaginary People’, The New Yorker , 17 January 2011, online). Fascinated by the emotional expressionism prevalent in Old

Auktionsarchiv: Los-Nr. 24
Auktion:
Datum:
08.03.2018
Auktionshaus:
Phillips
London
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