Sigmar Polke Untitled signed and dated "Sigmar Polke 2000" lower right acrylic and India ink on paper 62 5/8 x 82 1/2 in. (159.1 x 209.6 cm.) Executed in 2000.
Provenance Anthony d’Offay Gallery, London Acquired from the above by the present owner Exhibited Dallas Museum of Art; London, Tate Modern, Sigmar Polke History of Everything, Paintings and Drawings 1998-2003, November 15 - January 4, 2004, p. 136, pp. 76-79 (illustrated) Video Breaking Out: The Transcendence of Women in Latin American Art The Head of our Latin American Sale Kaeli Deane discusses the incredible worldwide surge in recognition being given to female artists from Latin America, focusing here on Carmen Herrera Lygia Papa in Mira Schendel Moreover, and even paradoxically, it is the fact that these women have transcended both their gender and nationality to become regarded simply as world-class artists after decades of working towards just that. Each of these incredible women are subjects of their own major retrospectives in 2016 and 2017: Carmen Herrera at the Whitney Museum of American Art in New York, Lygia Pape at the Metropolitan Museum of Art in New York and Mira Schendel at the Tate Modern in London. Catalogue Essay “…lots of dots vibrating, resonating, blurring, re-emerging, thoughts of radio signals, radio pictures and television come to mind. In that perspective I think that the raster I am using does show a specific view, that it is a general situation and interpretation: the structure of our time, the structure of social order, of a culture.” Sigmar Polke Executed in 2000, Untitled exemplifies the wide range of styles and methods that Sigmar Polke appropriated and developed at varying stages of his career. The present work brings together a variety of media on a stunning and impressive scale from the artist’s trademark raster dots first explored in his visual investigations of German Pop art in the 1960s to his explorations into abstraction in the 1980s. The formal composition of Untitled evidences the fundamental role that chance played in Polke’s practice: the atmospheric washes of paint, dispersion and ink interplay with the variegated dots of his found imagery. The result is a work that playfully parries abstraction, figuration, and modern mechanical means of illustration. Untitled was one of a selection of large-scale works chosen by the artist to exhibit at his solo-show Sigmar Polke History of Everything, Paintings and Drawings 1998-2003, at the Dallas Museum of Art in 2003, that later traveled to Tate Modern in London. The show brought together a group of works that drew on printing mistakes, images published in newspapers and historical engravings. Speaking of the artist’s works on paper, such as Untitled at the time of the exhibition, curator Charles Wylie noted that “they act entirely as do the paintings, and offer a concise summary of the qualities for which Polke has become internationally regarded as among the most important artists of our era: the seemingly random yet beautifully composed fusion of abstraction and figuration… swim in washes of color that Polke has masterfully controlled, creat[ing] an atmosphere on paper that is fully consistent with his more technically complex paintings with resins and other mercurial liquid materials.” (Sigmar Polke History of Everything, Paintings and Drawings 1998-2003,, exh. cat., Dallas Museum of Art, Dallas, 2003, p. 16) Through its myriad of artistic processes–neither photography, nor simply painting–Untitled challenges the conventions of both seeing and comprehending art. A compilation of raster dots act out a classical scene of nude, female bathers enveloped in swatches of white, yellow, red and blue paint. The fleshy, female forms appear to dematerialize within the oscillating mechanical pattern set against the maelstrom of painterly incident. The featured imagery appears to be a component from a larger Greco-Roman scene, which is typical of the banal subject matter and second-hand imagery that Polke excelled at transforming from trivial into epic. The present work occupies a section of the artist’s oeuvre begun in 1986 based on decorative
Sigmar Polke Untitled signed and dated "Sigmar Polke 2000" lower right acrylic and India ink on paper 62 5/8 x 82 1/2 in. (159.1 x 209.6 cm.) Executed in 2000.
Provenance Anthony d’Offay Gallery, London Acquired from the above by the present owner Exhibited Dallas Museum of Art; London, Tate Modern, Sigmar Polke History of Everything, Paintings and Drawings 1998-2003, November 15 - January 4, 2004, p. 136, pp. 76-79 (illustrated) Video Breaking Out: The Transcendence of Women in Latin American Art The Head of our Latin American Sale Kaeli Deane discusses the incredible worldwide surge in recognition being given to female artists from Latin America, focusing here on Carmen Herrera Lygia Papa in Mira Schendel Moreover, and even paradoxically, it is the fact that these women have transcended both their gender and nationality to become regarded simply as world-class artists after decades of working towards just that. Each of these incredible women are subjects of their own major retrospectives in 2016 and 2017: Carmen Herrera at the Whitney Museum of American Art in New York, Lygia Pape at the Metropolitan Museum of Art in New York and Mira Schendel at the Tate Modern in London. Catalogue Essay “…lots of dots vibrating, resonating, blurring, re-emerging, thoughts of radio signals, radio pictures and television come to mind. In that perspective I think that the raster I am using does show a specific view, that it is a general situation and interpretation: the structure of our time, the structure of social order, of a culture.” Sigmar Polke Executed in 2000, Untitled exemplifies the wide range of styles and methods that Sigmar Polke appropriated and developed at varying stages of his career. The present work brings together a variety of media on a stunning and impressive scale from the artist’s trademark raster dots first explored in his visual investigations of German Pop art in the 1960s to his explorations into abstraction in the 1980s. The formal composition of Untitled evidences the fundamental role that chance played in Polke’s practice: the atmospheric washes of paint, dispersion and ink interplay with the variegated dots of his found imagery. The result is a work that playfully parries abstraction, figuration, and modern mechanical means of illustration. Untitled was one of a selection of large-scale works chosen by the artist to exhibit at his solo-show Sigmar Polke History of Everything, Paintings and Drawings 1998-2003, at the Dallas Museum of Art in 2003, that later traveled to Tate Modern in London. The show brought together a group of works that drew on printing mistakes, images published in newspapers and historical engravings. Speaking of the artist’s works on paper, such as Untitled at the time of the exhibition, curator Charles Wylie noted that “they act entirely as do the paintings, and offer a concise summary of the qualities for which Polke has become internationally regarded as among the most important artists of our era: the seemingly random yet beautifully composed fusion of abstraction and figuration… swim in washes of color that Polke has masterfully controlled, creat[ing] an atmosphere on paper that is fully consistent with his more technically complex paintings with resins and other mercurial liquid materials.” (Sigmar Polke History of Everything, Paintings and Drawings 1998-2003,, exh. cat., Dallas Museum of Art, Dallas, 2003, p. 16) Through its myriad of artistic processes–neither photography, nor simply painting–Untitled challenges the conventions of both seeing and comprehending art. A compilation of raster dots act out a classical scene of nude, female bathers enveloped in swatches of white, yellow, red and blue paint. The fleshy, female forms appear to dematerialize within the oscillating mechanical pattern set against the maelstrom of painterly incident. The featured imagery appears to be a component from a larger Greco-Roman scene, which is typical of the banal subject matter and second-hand imagery that Polke excelled at transforming from trivial into epic. The present work occupies a section of the artist’s oeuvre begun in 1986 based on decorative
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