Abstract Art
See also : Abstract art II USA USA II Rothko Twombly Russia France Holland
Chronology : 1910-1919 1913 1916 1950-1959 1950 1952 1954 1958 1960-1969 1961 1968 1970-1979 1970 1977
Chronology : 1910-1919 1913 1916 1950-1959 1950 1952 1954 1958 1960-1969 1961 1968 1970-1979 1970 1977
1913 The Analysis of Rhythm
2017 SOLD for $ 70M including premium
Under the watchful eye of Apollinaire the young artists are trying to define the pure painting. Fernand Léger is in the group. His creative desire is limitless. In 1910 with his large oil on canvas Nus dans la forêt, he applies to a landscape the solutions of analytical cubism.
Léger admires the advances made by Cézanne while wanting to escape his theories. Geometric construction is indeed no more than a technique. The introduction of movement in painting by the Futurists is promising but remains anecdotal. Painting needs nothing else than displaying pure lines, shapes and colors which will capture the interest of the viewer by their own rhythm.
Like Kandinsky in Murnau, Léger conducts in parallel his pictorial trials and his theoretical research. His Femme en Bleu painted in 1912 is the switch into abstraction of a cubist work based on a classic theme. Balancing on this border between narrative and abstraction, Léger manages immediately afterward a reverted move in which the forms of the woman reappear. This oil on canvas 130 x 97 cm was sold for $ 39M including premium by Sotheby's on May 7, 2008.
Léger goes much further than Kandinsky and precedes Mondrian and Malevich : art can be abstract without any need to rely on a figurative sketch. In 1913 and 1914 he achieves about fourteen abstract paintings under the generic title Contraste de Formes. A contract with Kahnweiler brings him stability in his living conditions. The support by this merchant also slows down his habit of destroying his own works when the artistic effect does not respond to his perfectionist desire.
On November 13 in New York, Christie's sells as lot 14A a Contraste de Formes painted in 1913, oil on burlap 92 x 73 cm.
The progress made by Léger is decisive but soon interrupted by the stupid war that will annihilate Apollinaire. He will give up abstraction, no doubt because the effort to reach his own target for perfection was too exhausting. After this ephemeral momentum towards pure painting he will become an original image maker of modern life.
Please watch the video shared by Christie's.
Léger admires the advances made by Cézanne while wanting to escape his theories. Geometric construction is indeed no more than a technique. The introduction of movement in painting by the Futurists is promising but remains anecdotal. Painting needs nothing else than displaying pure lines, shapes and colors which will capture the interest of the viewer by their own rhythm.
Like Kandinsky in Murnau, Léger conducts in parallel his pictorial trials and his theoretical research. His Femme en Bleu painted in 1912 is the switch into abstraction of a cubist work based on a classic theme. Balancing on this border between narrative and abstraction, Léger manages immediately afterward a reverted move in which the forms of the woman reappear. This oil on canvas 130 x 97 cm was sold for $ 39M including premium by Sotheby's on May 7, 2008.
Léger goes much further than Kandinsky and precedes Mondrian and Malevich : art can be abstract without any need to rely on a figurative sketch. In 1913 and 1914 he achieves about fourteen abstract paintings under the generic title Contraste de Formes. A contract with Kahnweiler brings him stability in his living conditions. The support by this merchant also slows down his habit of destroying his own works when the artistic effect does not respond to his perfectionist desire.
On November 13 in New York, Christie's sells as lot 14A a Contraste de Formes painted in 1913, oil on burlap 92 x 73 cm.
The progress made by Léger is decisive but soon interrupted by the stupid war that will annihilate Apollinaire. He will give up abstraction, no doubt because the effort to reach his own target for perfection was too exhausting. After this ephemeral momentum towards pure painting he will become an original image maker of modern life.
Please watch the video shared by Christie's.
1916 Purified Art by Malevich
2018 SOLD for $ 86M including premium
Boccioni had wanted a global art with a figuration blurred within many facets. Kandinsky, Léger and a little later Mondrian were still exploring the boundaries between figurative and emotional. Malevich is unquestionably the first to purify art by freeing it from any interpretation of subject or object.
The second exhibition of his group, from mid-December 1915 to mid-January 1916, includes his Black Square on White Background, the first great shock from this new art. Malevich's aim is aesthetic. He finds for this new approach the designation of Suprematism.
The Black Square is his first flagship but it is not enough. The emotion must not be brought only by the freedom of the elements but also by the colors. Painted in 1915, the 18th Composition is a stack of almost rectangular non-transparent shapes in various colors. This artwork already invites to rotate the canvas for an observation in the four possible orientations. It was sold for £ 21.5M including premium by Sotheby's on June 24, 2015.
After the closing of the exhibition 0.10 in January 1916, Malevich restarts his search for the ultimate expression of colors. Suprematist Composition, oil on canvas 89 x 71 cm painted in 1916, was sold for $ 60M including premium by Sotheby's on November 3, 2008, lot 6. It will be sold by Christie's in New York on May 15, lot 12 A.
I described and commented it as follows in 2008:
The painting for sale no longer produces an illusion : it is a composition based on about fifty colored beams spread over a white background. The size, the proportions and the colors are varied. The angular positions show an opposition between the big purple beam and most of the others.
Malevich has succeeded here in his approach to an art that completely escapes nature and feeling, to retain only the aesthetics of color and geometry. He wanted his art to be understandable in the same way in all countries.
Please watch the video shared by Christie's. The image is shared by Wikimedia.
The second exhibition of his group, from mid-December 1915 to mid-January 1916, includes his Black Square on White Background, the first great shock from this new art. Malevich's aim is aesthetic. He finds for this new approach the designation of Suprematism.
The Black Square is his first flagship but it is not enough. The emotion must not be brought only by the freedom of the elements but also by the colors. Painted in 1915, the 18th Composition is a stack of almost rectangular non-transparent shapes in various colors. This artwork already invites to rotate the canvas for an observation in the four possible orientations. It was sold for £ 21.5M including premium by Sotheby's on June 24, 2015.
After the closing of the exhibition 0.10 in January 1916, Malevich restarts his search for the ultimate expression of colors. Suprematist Composition, oil on canvas 89 x 71 cm painted in 1916, was sold for $ 60M including premium by Sotheby's on November 3, 2008, lot 6. It will be sold by Christie's in New York on May 15, lot 12 A.
I described and commented it as follows in 2008:
The painting for sale no longer produces an illusion : it is a composition based on about fifty colored beams spread over a white background. The size, the proportions and the colors are varied. The angular positions show an opposition between the big purple beam and most of the others.
Malevich has succeeded here in his approach to an art that completely escapes nature and feeling, to retain only the aesthetics of color and geometry. He wanted his art to be understandable in the same way in all countries.
Please watch the video shared by Christie's. The image is shared by Wikimedia.
1950 White Center (yellow, pink and lavender on rose) by Rothko
2007 SOLD for $ 73M including premium by Sotheby's
The low resolution image below is shared by Wikimedia for fair use :
1952 The New Language of Mark Rothko
2014 SOLD 66 M$ including premium
Mark Rothko was a philosopher, musician, theorist, chemist. These qualities enabled him to develop a new artistic language. He was not alone, of course, and this new path is enriched by the experiences of Barnett Newman and Clyfford Still, in contrast to the action painting of Pollock and Kline.
His theme now so recognizable of the color fields had matured over two decades. He begins by challenging the figuration considered as a betrayal of the represented subject, and welcomes the moves of De Kooning and probably also Gorky who delete the difference between figurative and abstract.
He deviates from this trend by observing the intricacies of colors in the latest works by Matisse and Bonnard. He then develops a mixture suitable for his project with the best available pigments associated with turpentine and organic materials.
His goal is reached: Rothko's paint may be placed on the canvas in thin translucent layers that dry quickly and can be spread in wash or drawn with brush.
From his first trial of his new technique in 1950, Rothko achieved by his meticulous layering an infinite variety of colors mostly visible at the limits of his large rectangles. His color fields do not have a geometric border. Rothko is the total opposite to Mondrian.
One of his sixteen dramas made in 1950 welcomes four players : white, yellow, pink and lavender. This painting 206 x 141 cm was sold for $ 73M including premium by Sotheby's on May 15, 2007.
On May 13 in New York, Christie's sells an oil on canvas 262 x 159 cm painted in 1952. At that time, the artistic language of Rothko is stabilized and this outstanding colorist can therefore optimize the emotional effect of his compositions. An interview given by Christie's to the Wall Street Journal reveals the estimate of $ 40M to $ 60M.
This work is dominated at the top of the canvas by a huge purple square whose mesmerizing effect is balanced by a solid dark rectangle at the bottom of the image. These two conflicting actors are separated by an orange field. The yellow orange outlining the scene reminds that Rothko did not want his paintings to be enclosed in frames.
I often said that the reproductions on paper or online do not allow to understand the art of Rothko. The video shared by Christie's is a remarkable demonstration of the high quality in the art and technique of the most subtle colorist of all time.
POST SALE COMMENT
This outstanding Rothko painting was sold for $ 66M including premium.
The low resolution image below is shared by Wikimedia for fair use :
His theme now so recognizable of the color fields had matured over two decades. He begins by challenging the figuration considered as a betrayal of the represented subject, and welcomes the moves of De Kooning and probably also Gorky who delete the difference between figurative and abstract.
He deviates from this trend by observing the intricacies of colors in the latest works by Matisse and Bonnard. He then develops a mixture suitable for his project with the best available pigments associated with turpentine and organic materials.
His goal is reached: Rothko's paint may be placed on the canvas in thin translucent layers that dry quickly and can be spread in wash or drawn with brush.
From his first trial of his new technique in 1950, Rothko achieved by his meticulous layering an infinite variety of colors mostly visible at the limits of his large rectangles. His color fields do not have a geometric border. Rothko is the total opposite to Mondrian.
One of his sixteen dramas made in 1950 welcomes four players : white, yellow, pink and lavender. This painting 206 x 141 cm was sold for $ 73M including premium by Sotheby's on May 15, 2007.
On May 13 in New York, Christie's sells an oil on canvas 262 x 159 cm painted in 1952. At that time, the artistic language of Rothko is stabilized and this outstanding colorist can therefore optimize the emotional effect of his compositions. An interview given by Christie's to the Wall Street Journal reveals the estimate of $ 40M to $ 60M.
This work is dominated at the top of the canvas by a huge purple square whose mesmerizing effect is balanced by a solid dark rectangle at the bottom of the image. These two conflicting actors are separated by an orange field. The yellow orange outlining the scene reminds that Rothko did not want his paintings to be enclosed in frames.
I often said that the reproductions on paper or online do not allow to understand the art of Rothko. The video shared by Christie's is a remarkable demonstration of the high quality in the art and technique of the most subtle colorist of all time.
POST SALE COMMENT
This outstanding Rothko painting was sold for $ 66M including premium.
The low resolution image below is shared by Wikimedia for fair use :
1954 Red-Blue Shock by Rothko
2012 SOLD 75 M$ including premium
In 1954 Mark Rothko is invited by the Art Institute of Chicago to prepare a solo exhibition. He selects eight of his works. The event will have a huge impact on his reputation.
Since several years at that time, he organizes his paintings in confrontations of colors for which the composition in stacks of rectangular blocks is always present but is no longer the essential element.
1954 No. 1 (Royal Red and Blue) is one of the eight works presented in Chicago. It is already typical of the exceptional understanding of Rothko to achieve the maximum emotional level.
It is very large, 289 x 172 cm. Divided into several shades, the reds dominate. At the bottom of the canvas, the red hegemony is interrupted by an aggressive bright blue rectangle. This painting is estimated $ 35M, for sale by Sotheby's in New York on November 13. It is illustrated in the release shared by Artdaily.
In subsequent years, the reds will increasingly be the major actors in the artistic drama realized by Rothko, taking drama in its etymological meaning of theater. They will now have less need to rely on opponents like the blue of that No. 1.
I invite you to play the video shared by Sotheby's.
POST SALE COMMENT
Sold $ 75M including premium, the Rothko has far exceeded its estimate.
It comes close to the 1961 Orange Red Yellow sold $ 87M including premium sold by Christie's on May 8, 2012, less tall but belonging to the culminating period of the emotional expression by Rothko.
The low resolution image below is shared by Wikimedia for fair use :
Since several years at that time, he organizes his paintings in confrontations of colors for which the composition in stacks of rectangular blocks is always present but is no longer the essential element.
1954 No. 1 (Royal Red and Blue) is one of the eight works presented in Chicago. It is already typical of the exceptional understanding of Rothko to achieve the maximum emotional level.
It is very large, 289 x 172 cm. Divided into several shades, the reds dominate. At the bottom of the canvas, the red hegemony is interrupted by an aggressive bright blue rectangle. This painting is estimated $ 35M, for sale by Sotheby's in New York on November 13. It is illustrated in the release shared by Artdaily.
In subsequent years, the reds will increasingly be the major actors in the artistic drama realized by Rothko, taking drama in its etymological meaning of theater. They will now have less need to rely on opponents like the blue of that No. 1.
I invite you to play the video shared by Sotheby's.
POST SALE COMMENT
Sold $ 75M including premium, the Rothko has far exceeded its estimate.
It comes close to the 1961 Orange Red Yellow sold $ 87M including premium sold by Christie's on May 8, 2012, less tall but belonging to the culminating period of the emotional expression by Rothko.
The low resolution image below is shared by Wikimedia for fair use :
1958 The Transcending Color of Mark Rothko
2015 SOLD for $ 82M including premium
In 1958, Mark Rothko is famous and unhappy. He is unhappy because he is famous and because he sees the public admiring the game of balance between the bright colors of his signature blocks. He targeted to show the variety of emotions from mystical to profane but is he more than just a designer?
He accepts at first a huge order for the future restaurant in Seagram's building but this step forward certainly increases his confusion. In an extraordinary burst of creativity, he rejects the vivid colors. Rembrandt knew how to throw the light out of the shadow, there is no reason that could prevent Rothko to do it.
On May 15, 2013 in New York, Christie's sold for $ 27M including premium a Black on Maroon 183 x 114 cm that participates in that momentum and is not yet a symptom of the tragic depression of the artist in the following decade.
On May 13 in New York, Christie's sells as lot 35B the No 10 (1958), oil on canvas 239 x 176 cm. An infinite variety of colors predominantly brown interweaves within the rectangles whose structure is superseded by a magnificent halo effect.
When he broke with Seagram's, Rothko said not without wickedness that he wanted to cut hunger to the restaurant's guests. With this No. 10 contemporary of that failed project, the frustrated artist wanted to replace the sensational by the sublime but his art was to become increasingly elitist.
The video shared by Christie's shows the key importance of that year in the creative process of this highly temperamental artist.
The low resolution image below is shared by Wikimedia for fair use :
He accepts at first a huge order for the future restaurant in Seagram's building but this step forward certainly increases his confusion. In an extraordinary burst of creativity, he rejects the vivid colors. Rembrandt knew how to throw the light out of the shadow, there is no reason that could prevent Rothko to do it.
On May 15, 2013 in New York, Christie's sold for $ 27M including premium a Black on Maroon 183 x 114 cm that participates in that momentum and is not yet a symptom of the tragic depression of the artist in the following decade.
On May 13 in New York, Christie's sells as lot 35B the No 10 (1958), oil on canvas 239 x 176 cm. An infinite variety of colors predominantly brown interweaves within the rectangles whose structure is superseded by a magnificent halo effect.
When he broke with Seagram's, Rothko said not without wickedness that he wanted to cut hunger to the restaurant's guests. With this No. 10 contemporary of that failed project, the frustrated artist wanted to replace the sensational by the sublime but his art was to become increasingly elitist.
The video shared by Christie's shows the key importance of that year in the creative process of this highly temperamental artist.
The low resolution image below is shared by Wikimedia for fair use :
1961 The Vibrant Vermilion of Mark Rothko
2012 SOLD 87 M$ including premium
The art of Mark Rothko reached the top of its power in 1961.
The dimensions of his canvases have increased and are standardized. The rectangles occupy almost all the available surface, over a negligible neutral background. Most significantly, the preferred color of the artist is now the most vibrant of them : red.
On May 8 in New York, Christie's sells an oil on canvas, 236 x 206 cm, titled Orange, Red, Yellow. It is dominated by a bright vermilion, omnipresent, whose perfect monochromy is the result of a meticulous brushwork.
This painting was owned since 1967 by a demanding collector who considered it as one of the most successful pieces in Rothko's art. Its estimate, $ 35M, is consistent with the results already discussed in this column for his works of the same year.
POST SALE COMMENT
The demanding collector had a good taste. 45 years later, his vermilion Rothko is enshrined as one of the masterpieces of the artist. It was sold $ 87M including premium.
It is gratifying to note that this fabulous price rewards a work from the best years of maturity of the master. The oil on canvas with more varied colors which was sold $ 73M including premium by Sotheby's on May 15, 2007 was made in 1950, 11 years before.
The low resolution image below is shared by Wikimedia for fair use :
The dimensions of his canvases have increased and are standardized. The rectangles occupy almost all the available surface, over a negligible neutral background. Most significantly, the preferred color of the artist is now the most vibrant of them : red.
On May 8 in New York, Christie's sells an oil on canvas, 236 x 206 cm, titled Orange, Red, Yellow. It is dominated by a bright vermilion, omnipresent, whose perfect monochromy is the result of a meticulous brushwork.
This painting was owned since 1967 by a demanding collector who considered it as one of the most successful pieces in Rothko's art. Its estimate, $ 35M, is consistent with the results already discussed in this column for his works of the same year.
POST SALE COMMENT
The demanding collector had a good taste. 45 years later, his vermilion Rothko is enshrined as one of the masterpieces of the artist. It was sold $ 87M including premium.
It is gratifying to note that this fabulous price rewards a work from the best years of maturity of the master. The oil on canvas with more varied colors which was sold $ 73M including premium by Sotheby's on May 15, 2007 was made in 1950, 11 years before.
The low resolution image below is shared by Wikimedia for fair use :
1961 The Existential Abstraction of Barnett Newman
2014 SOLD 84 M$ including premium
Barnett Newman was a mystical atheist inspired by the creation of monotheism. His search for a non-figurative authenticity was intuitive and emotional. His art is rare, with long periods of interruption in his creative process.
The Onement series symbolizing the creation of the world includes only six paintings made from 1948 to 1953. The monochromatic surface is the result of a careful application of additional layers of paint as Rothko was doing. The only element of picture is a thin vertical central strip named the zip which shows that the homogeneity of the universe is an illusion.
In 1957, Newman suffers his first heart attack which generates a mystical crisis on the abandonment of man facing mortality. Despite his atheism, he takes his inspiration in the Calvary of Christ. The color is replaced by a deep black occupying the entire surface excepted some vertical strips of raw canvas. He finished the series of Stations in 1966.
Newman's psychological crisis worsens with the sudden death of his younger brother in 1961. Black Fire I, in the same technique as the Stations, manages to express in a single canvas the whole existential tragedy. The growth of the black area from left to right is blocked by a vertical zip. The right side is not painted.
The title of the work is a reference to the Judaic magma of mystical material anticipating the Torah.
This oil on canvas 290 x 213 cm is for sale by Christie's in New York on May 13. This outstanding work has no recent antecedent on the auction market and the price is unpredictable. I invite you to play the audio shared by Christie's.
POST SALE COMMENT
This highly emotional abstract painting was sold for $ 84M including premium.
The Onement series symbolizing the creation of the world includes only six paintings made from 1948 to 1953. The monochromatic surface is the result of a careful application of additional layers of paint as Rothko was doing. The only element of picture is a thin vertical central strip named the zip which shows that the homogeneity of the universe is an illusion.
In 1957, Newman suffers his first heart attack which generates a mystical crisis on the abandonment of man facing mortality. Despite his atheism, he takes his inspiration in the Calvary of Christ. The color is replaced by a deep black occupying the entire surface excepted some vertical strips of raw canvas. He finished the series of Stations in 1966.
Newman's psychological crisis worsens with the sudden death of his younger brother in 1961. Black Fire I, in the same technique as the Stations, manages to express in a single canvas the whole existential tragedy. The growth of the black area from left to right is blocked by a vertical zip. The right side is not painted.
The title of the work is a reference to the Judaic magma of mystical material anticipating the Torah.
This oil on canvas 290 x 213 cm is for sale by Christie's in New York on May 13. This outstanding work has no recent antecedent on the auction market and the price is unpredictable. I invite you to play the audio shared by Christie's.
POST SALE COMMENT
This highly emotional abstract painting was sold for $ 84M including premium.
1968 Rhythm and Loop
2015 SOLD for $ 71M including premium
Life is not expressed in figuration. Cy Twombly tries the rhythm in a musicalist approach. His long stays in Italy provide the model of the antique graffiti, interesting for several reasons: their juxtaposition let imagine some shapes and movements, details can be pornographic, and their fast and furtive execution is an example of a graphical application of the subconscious.
An automatic writing can be done in pencil on paper, but modern art appeals for large formats. From 1966, Twombly painted canvases in a uniform gray on which he was drawing with a wax crayon the figures of his mind. This series will be identified under the generic name of Blackboards.
The first tests combine the jerky action of the hand, expressing the reflex, with geometric figures that make a link with the former graffiti of the artist. This mixed meaning blurs his intention to express life. His Blackboards do not need to rely on the persistence of ancient impulses. The most interesting Blackboards will be performed in New York.
One of them, 173 x 216 cm, painted in 1968, has been sold for $ 8.7M including premium by Sotheby's on 9 November 2005. An oblique line of high jerky and irregular eight shaped loops runs throughout the width.
About that time, Twombly improves his approach like a proto-writing. The shape of the loop has a graphological value and will vary depending on the mood of the artist at the time of its creation.
On November 11 in New York, Sotheby's sells at lot 18 a 173 x 269 cm blackboard painted by Twombly also in 1968, but later in its maturity than the example discussed above.
The line consists in an entanglement of proto-writings in repetitive loops forming six thick horizontal lines within very regular limits. These lines that become wider from top to bottom of the canvas generate an illusion of perspective.
I invite you to watch the video shared by Sotheby's.
An automatic writing can be done in pencil on paper, but modern art appeals for large formats. From 1966, Twombly painted canvases in a uniform gray on which he was drawing with a wax crayon the figures of his mind. This series will be identified under the generic name of Blackboards.
The first tests combine the jerky action of the hand, expressing the reflex, with geometric figures that make a link with the former graffiti of the artist. This mixed meaning blurs his intention to express life. His Blackboards do not need to rely on the persistence of ancient impulses. The most interesting Blackboards will be performed in New York.
One of them, 173 x 216 cm, painted in 1968, has been sold for $ 8.7M including premium by Sotheby's on 9 November 2005. An oblique line of high jerky and irregular eight shaped loops runs throughout the width.
About that time, Twombly improves his approach like a proto-writing. The shape of the loop has a graphological value and will vary depending on the mood of the artist at the time of its creation.
On November 11 in New York, Sotheby's sells at lot 18 a 173 x 269 cm blackboard painted by Twombly also in 1968, but later in its maturity than the example discussed above.
The line consists in an entanglement of proto-writings in repetitive loops forming six thick horizontal lines within very regular limits. These lines that become wider from top to bottom of the canvas generate an illusion of perspective.
I invite you to watch the video shared by Sotheby's.
1970 Cy Twombly in Quest of Writing
2014 SOLD for $ 70M including premium
Cy Twombly was projecting in his art his initial training in cryptology and his aesthetic feelings. In his first Roman period, he imagines that the colored patches that he positions on the canvas are reminiscent of messages too erased for being understood but opening an access to mythical meanings.
From 1966 Twombly continues his semiotic research towards psychoanalysis. On the black canvas that resembles the board of infant schools, he draws in white his messages which are indecipherable in direct reading but speak to the mind of the viewer.
The comparison between two canvases painted in 1970 show that the artist is seeking to express the diversity of humanity as well as his own creativity. Now inspired by graphology, Twombly's art describes and interprets the range of human characters in the fundamental and formative phase of early childhood.
One of these Blackboards, located in New York City, 144 x 178 cm, was sold for $ 17.5M including premium by Sotheby's on May 9, 2012. The writing is nervous, with angles and backtracking.
Another example, 156 x 190 cm, is not located in the title but has been painted after the return to Rome of the artist. It is estimated $ 35M for sale by Christie's in New York on November 12, lot 20.
Here, the fake writing is made of very regular loops as if they came from an intelligent and quiet schoolchild, but their four lines form a tangled hair which widens from top to bottom in a false perspective.
From 1966 Twombly continues his semiotic research towards psychoanalysis. On the black canvas that resembles the board of infant schools, he draws in white his messages which are indecipherable in direct reading but speak to the mind of the viewer.
The comparison between two canvases painted in 1970 show that the artist is seeking to express the diversity of humanity as well as his own creativity. Now inspired by graphology, Twombly's art describes and interprets the range of human characters in the fundamental and formative phase of early childhood.
One of these Blackboards, located in New York City, 144 x 178 cm, was sold for $ 17.5M including premium by Sotheby's on May 9, 2012. The writing is nervous, with angles and backtracking.
Another example, 156 x 190 cm, is not located in the title but has been painted after the return to Rome of the artist. It is estimated $ 35M for sale by Christie's in New York on November 12, lot 20.
Here, the fake writing is made of very regular loops as if they came from an intelligent and quiet schoolchild, but their four lines form a tangled hair which widens from top to bottom in a false perspective.
1977 Contemplation in Long Island
2016 SOLD for $ 66M including premium
Willem de Kooning was a lover of women and a heavy drinker. His artistic career is uneven, marked by breaks and restarts. The beauty of Long Island offers him a late redemption in his seventies.
De Kooning buys a piece of land near Springs in 1958, two years after Pollock's death. Pollock had his studio in the same village where he was imbued with the richly colorful nature facing the sea. It took 17 years to de Kooning to start a creativity of similar inspiration.
In 1975 the old artist is happy. His art is acclaimed. He is pleased with his young girlfriend Mimi Kilgore. His wife Elaine of whom he had never divorced comes back to him in the following year. He finally takes time to contemplate the nature through observations of very long duration ending in a sudden rush on his canvas, colors and brushes.
The bright colors that cover the entire surface of the canvas were not spontaneous at all. They are made of mixed layers varying from impasto to flowing paint. The visionary artist knows in advance which result he desires and has no doubt that he will succeed. Once finished he considers that what he achieved is impossible to repeat. And he starts again with another canvas.
All these Untitled paintings are different because they are based on other contemplations. Sometimes a figure or a tree arises beyond abstraction by a careful observation. Pollock also was upset when his art was considered abstract.
This new creativity of de Kooning reaches its highest maturity in 1977 and will be immediately followed by his inevitable relapse. Untitled XXV, oil on canvas 196 x 224 cm painted in 1977, was sold for $ 27M by Christie's in New York on 15 November 2006. It returns in the same auction room on November 15, 2016, exactly ten years later, lot 8 A. The press release of September 29 announces an estimate in the region of $ 40M.
De Kooning buys a piece of land near Springs in 1958, two years after Pollock's death. Pollock had his studio in the same village where he was imbued with the richly colorful nature facing the sea. It took 17 years to de Kooning to start a creativity of similar inspiration.
In 1975 the old artist is happy. His art is acclaimed. He is pleased with his young girlfriend Mimi Kilgore. His wife Elaine of whom he had never divorced comes back to him in the following year. He finally takes time to contemplate the nature through observations of very long duration ending in a sudden rush on his canvas, colors and brushes.
The bright colors that cover the entire surface of the canvas were not spontaneous at all. They are made of mixed layers varying from impasto to flowing paint. The visionary artist knows in advance which result he desires and has no doubt that he will succeed. Once finished he considers that what he achieved is impossible to repeat. And he starts again with another canvas.
All these Untitled paintings are different because they are based on other contemplations. Sometimes a figure or a tree arises beyond abstraction by a careful observation. Pollock also was upset when his art was considered abstract.
This new creativity of de Kooning reaches its highest maturity in 1977 and will be immediately followed by his inevitable relapse. Untitled XXV, oil on canvas 196 x 224 cm painted in 1977, was sold for $ 27M by Christie's in New York on 15 November 2006. It returns in the same auction room on November 15, 2016, exactly ten years later, lot 8 A. The press release of September 29 announces an estimate in the region of $ 40M.
