Beschreibung:

Cindy Sherman Untitled # 209 1989 Colour coupler print in artist's frame. 147.4 x 106 cm. (58 x 42 in). Signed and dated ‘Cindy Sherman 1989' on the reverse. This work is from an edition of six.
Provenance Metro Pictures, New York Exhibited Milan, Padiglione d’Arte Contemporanea, Cindy Sherman 1990 (another example exhibited); Kunsthalle Basel, 28 March – 20 May, 1991; Munich, Staatsgalerie Moderner Kunst, 21 June – 24 July, 1991 and London, Whitechapel Art Gallery, 2 August – 22 September, 1991 (another example exhibited), Cindy Sherman; Milwaukee Art Museum, January – March, 1991; Miami, Centre for the Fine Arts, May – July, 1991 and Minneapolis, Walker Art Centre, July – October, 1991, Cindy Sherman (another example exhibited); D.C., Hirschhorn Museum and Sculpture Garden, Smithsonian Institution, 7 October, 1999 – 17 January, 2000 and Munich, Haus der Kunst, 11 February – 30 April, 2000 (another example exhibited), Regarding Beauty. A View of the Late Twentieth Century; London Serpentine Gallery, 3 June – 25 August, 2003 (another example exhibited) and Edinburgh, Scottish National Gallery of Modern Art, 6 December, 2003 – 7 March, 2004 (another example exhibited), Cindy Sherman; Paris, Jeu de Paume, 16 May – 3 September, 2006; Kunsthaus Bregenz, 25 November, 2006 – 14 January, 2007; Humlebeak, Louisiana Museum of Modern Art, 9 February – 13 May, 2007 Berlin, Martin-Gropius Bau, 15 June – 10 September, 2007 (another example exhibited), Cindy Sherman Literature A. Danto, Cindy Sherman History Portraits, New York, 1990 (another example illustrated); Exhibition Catalogue, Cindy Sherman Basel, 1991, p. 57 (another example illustrated); R. Krauss and N. Bryson, Cindy Sherman – 1975-1993, New York, 1993, p. 169 (another example illustrated); C. Schneider, Cindy Sherman – History Portraits : die Wiedergeburt des Gemäldes nach dem Ende der Malerei, Munich, 1995, pl. 6 (another example illustrated); Exhibition Catalogue, Hirschhorn Museum and Sculpture Garden and Haus der Kunst Munich, Regarding Beauty. A View of the Late Twentieth Century, Washington, 2000, pl. 67, p. 47 (another example illustrated); Exhibition Catalogue, Serpentine Gallery and Scottish National Gallery of Modern Art, Cindy Sherman London, 2003, p. 74 (another example illustrated); Exhibition Catalogue, Cindy Sherman Paris, 2006, pp. n.p & p. 257 (another example illustrated) Catalogue Essay “In the History Portraits, created in 1989-90 on the theme of Old Master paintings, Sherman unleashes the full blast of her iconoclastic verve. False noses, false breasts, cheap costume jewelry, everyday fabrics, and thickly plastered makeup are assembled under dazzling, bright light: the joke shop takes its revenge on the museum…the references are precise in some cases, and more fragmented in others…The overall impression is of an unsavory cultural minestrone, floating with bits of Fouquet, Raphael, Rubens, Fragonard, and Ingres…Sherman highlights the creation of a world where formal invention, fantasy and satire reign supreme.” (J.P. Criqui, ‘The Lady Vanishes’ in Cindy Sherman Paris, 2006, pp. 279 & 281) Having begun the History Portraits in 1988, Sherman found the atmosphere of Renaissance Rome a catalyst and cultural setting for her body of work, which aimed at depicting classic images. Belonging to one of her most celebrated photographs from the acclaimed series the present lot, Untitled # 209, is a seminal image, in which Sherman captivates in a single iconic self-image the principle tenets that highlight the artist’s entire oeuvre. Through the incorporation of costumes, poses, interiors and settings of classical portraiture that were so predominant during the period of High Art, this series looks to mine the canon of art history, culling images of historical figures. Executed in Rome in 1989, the present lot Untitled # 209 is a work that confronts and comments on the possibilities of presentation and re-presentation within art. One of her most accomplished compositions; it enshrines in a stunning and powerful image Sherman’s ability to alchemise the subject from its classical genre of History Painting to her own reconfigured genre of photography - a genr