Wilhelm Sasnal Gym Lesson at School 1999 Oil on canvas. 59 x 59 in. (149.9 x 149.9 cm). Signed, titled and dated "Wilhelm Sasnal 1999" on the reverse.
Provenance Marc Jancou Fine Art, New York Literature M. Holborn and F. Huber, eds., The Triumph of Painting, London, 2005, p. 232 (illustrated) Catalogue Essay Wilhelm Sasnal often borrows subjects from art history, 20th century propaganda, and photojournalism. He treats painting as a reductive process: information is lost in translation from photography to painting. Using the original photo's black-and-white tones, details are eradicated through heightened contrast, the image simplified and personalized by the artist's hand. In their solemnity, his paintings seem like after images, shadows of pictures. Singular moments are captured in memory, emblazoning themselves on the mind, and perhaps coming back to mind later in connection with other images. Sasnal uses the immediacy and multiplicity of painterly possibilities to open up a complex visual and tactile memory of a world mediated by the press of luminous image surfaces. Read More
Wilhelm Sasnal Gym Lesson at School 1999 Oil on canvas. 59 x 59 in. (149.9 x 149.9 cm). Signed, titled and dated "Wilhelm Sasnal 1999" on the reverse.
Provenance Marc Jancou Fine Art, New York Literature M. Holborn and F. Huber, eds., The Triumph of Painting, London, 2005, p. 232 (illustrated) Catalogue Essay Wilhelm Sasnal often borrows subjects from art history, 20th century propaganda, and photojournalism. He treats painting as a reductive process: information is lost in translation from photography to painting. Using the original photo's black-and-white tones, details are eradicated through heightened contrast, the image simplified and personalized by the artist's hand. In their solemnity, his paintings seem like after images, shadows of pictures. Singular moments are captured in memory, emblazoning themselves on the mind, and perhaps coming back to mind later in connection with other images. Sasnal uses the immediacy and multiplicity of painterly possibilities to open up a complex visual and tactile memory of a world mediated by the press of luminous image surfaces. Read More
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