Germany - 2nd page
not including Richter
See also : Germany Art on paper Self portrait II Music and dance Cities Cars Cars II Mercedes-Benz Post war cars Cars 1954-55 Animals Bird Horse
Chronology : 1912 1914 1915 1920 1930-1939 1938 1967 1988
See also : Germany Art on paper Self portrait II Music and dance Cities Cars Cars II Mercedes-Benz Post war cars Cars 1954-55 Animals Bird Horse
Chronology : 1912 1914 1915 1920 1930-1939 1938 1967 1988
1912 Der Wasserfall by Franz Marc
2007 SOLD for $ 20.2M including premium by Sotheby's
narrated in 2020
The quest for a new art, mystical and dematerialized, brings together Kandinsky and Marc. Franz Marc loves the masculine strength of the wild horses. Kandinsky likes the theme of the rider. Blue is their favorite color. With among others Macke and Jawlensky, they create the Der Blaue Reiter movement in Munich in 1911. That name was also the title of a previous painting by Kandinsky.
Like Kandinsky, Marc gradually evolves towards an abstraction characterized by the raw expression of colors. His colors, symbols of the pantheistic forces, completely escape the realism. He explained how to interpret them : Blue is the male principle, austere, spiritual and intellectual. Yellow is the female principle, nice, kind and sensual. Red is an enemy, materialistic, brutal and heavy.
In support to his theories, Marc stages a wide variety of animals, ideal creations of nature. However, he does not forget that his goal is humanistic.
On November 7, 2007, Sotheby's sold for $ 20.2M including premium Der Wasserfall, oil on canvas 165 x 158 cm painted in 1912, lot 41.
Der Wasserfall is a rare example from that period with human characters. In front of the waterfall, four naked women display dramatic gestures. The colors of the skins are different, expressing without a racial connotation the diversity of temperaments. The waterfall is an abundant and swirling flow in a striking blue, symbolizing the divine light. In the background on the left, a feline brings its contribution to the pantheism.
Like Kandinsky, Marc gradually evolves towards an abstraction characterized by the raw expression of colors. His colors, symbols of the pantheistic forces, completely escape the realism. He explained how to interpret them : Blue is the male principle, austere, spiritual and intellectual. Yellow is the female principle, nice, kind and sensual. Red is an enemy, materialistic, brutal and heavy.
In support to his theories, Marc stages a wide variety of animals, ideal creations of nature. However, he does not forget that his goal is humanistic.
On November 7, 2007, Sotheby's sold for $ 20.2M including premium Der Wasserfall, oil on canvas 165 x 158 cm painted in 1912, lot 41.
Der Wasserfall is a rare example from that period with human characters. In front of the waterfall, four naked women display dramatic gestures. The colors of the skins are different, expressing without a racial connotation the diversity of temperaments. The waterfall is an abundant and swirling flow in a striking blue, symbolizing the divine light. In the background on the left, a feline brings its contribution to the pantheism.
1912 Horses by Franz Marc
2018 SOLD for £ 15.4M including premium by Christie's
narrated in 2020
Franz Marc rejects the modern life which is dominated by the machine. He seeks truth in Nature. His work displays a great diversity of animals, whose symbiosis with nature is a support for a harmony of forms. He uses Fauvist colors, with a symbolist code of his invention : blue for the male and yellow for the female when they are peaceful, and red to express an antithesis, for example revolt.
The horse occupies the best place in Marc's art. The natural attitude of this animal is varied but always elegant. A group of horses is the pretext for building a perfect balance. With an image brought by Kandinsky, the horse becomes a powerful symbol of modern art when the two artists create the Der Blaue Reiter movement in 1911.
Grosse Landschaft I (large landscape I) shows a group of mares. This oil on canvas 110 x 212 cm painted in 1909 passed at Sotheby's on February 3, 2016 with a lower estimate of £ 4M, lot 6.
Weidende Pferde III (grazing horses III) stages four fiery males, each one in another attitude. The coats are red but manes and tails are blue. This oil on canvas 61 x 92 cm painted in 1910 was sold for £ 12.3M including premium by Sotheby's on February 5, 2008 over a lower estimate of £ 6M, lot 13.
Art on paper or cardboard allows a great vividness of colors. Drei Pferde (three horses), gouache on card 34 x 48 cm executed in 1912, was sold for £ 15.4M including premium by Christie's on June 20, 2018 over a lower estimate of £ 2.5M, lot 14 B. Horses have a realistic shape but are surrounded by a cubist landscape. This work is illustrated in the tweet below.
Made the same year, Zwei Blaue Esel (two blue donkeys), gouache on paper 35 x 28 cm, was sold for £ 4.1M including premium by Sotheby's on February 4, 2020 over a lower estimate of £ 1M, lot 7.
The horse occupies the best place in Marc's art. The natural attitude of this animal is varied but always elegant. A group of horses is the pretext for building a perfect balance. With an image brought by Kandinsky, the horse becomes a powerful symbol of modern art when the two artists create the Der Blaue Reiter movement in 1911.
Grosse Landschaft I (large landscape I) shows a group of mares. This oil on canvas 110 x 212 cm painted in 1909 passed at Sotheby's on February 3, 2016 with a lower estimate of £ 4M, lot 6.
Weidende Pferde III (grazing horses III) stages four fiery males, each one in another attitude. The coats are red but manes and tails are blue. This oil on canvas 61 x 92 cm painted in 1910 was sold for £ 12.3M including premium by Sotheby's on February 5, 2008 over a lower estimate of £ 6M, lot 13.
Art on paper or cardboard allows a great vividness of colors. Drei Pferde (three horses), gouache on card 34 x 48 cm executed in 1912, was sold for £ 15.4M including premium by Christie's on June 20, 2018 over a lower estimate of £ 2.5M, lot 14 B. Horses have a realistic shape but are surrounded by a cubist landscape. This work is illustrated in the tweet below.
Made the same year, Zwei Blaue Esel (two blue donkeys), gouache on paper 35 x 28 cm, was sold for £ 4.1M including premium by Sotheby's on February 4, 2020 over a lower estimate of £ 1M, lot 7.
#AuctionUpdate ‘Drei Pferde’ by #FranzMarc achieves £15,421,250, more than 4 x the high estimate, making a new #WorldAuctionRecord for the artist. pic.twitter.com/Zk9zGc2j8G
— Christie's (@ChristiesInc) June 20, 2018
1913-1914 Berliner Strassenszene by Kirchner
2006 SOLD 38 M$ including premium by Christie's
narrated in 2020
The Die Brücke movement was founded in Dresden in 1905 by four students who wanted to define a modern life based on freedom. From 1911 the lights, the pleasures and the opportunities of Berlin attract them like butterflies. The failure is total. The group explodes in January 1913.
Kirchner has to face the facts. Life in Berlin is not communal. Each individual is isolated in the crowd. At that time prostitutes were the queens of the Berlin sidewalk. They are recognizable by customers from odd signs which are not sufficient to make them intercepted by the police of morals : the high feather on the hat, the tight dresses in too bright colors.
The Strassenszene series, begun at the end of 1913 and interrupted by the war, marks Kirchner's attempt to interpret this city life which he did not want. An oil on canvas 122 x 91 cm painted in 1913 or 1914 was sold for $ 38M including premium by Christie's on November 8, 2006 over a lower estimate of $ 18M, lot 37. The image is shared by Wikimedia.
Two cocottes walk together in the middle of a dense crowd. The characters around them go in all directions, like in a whirlwind, without any interaction between them. Two men are in the foreground, not without arrogance. They are pimps or customers. In the background, the panel of the tram 15 enables to locate the scene in the heart of the big city.
This anxiety-provoking atmosphere is also perfectly transposed by Kirchner in his wood engravings. A Strassenszene with formidably unfriendly characters passed at Sotheby's on October 23, 2017. Fünf Kokotten, a grotesque interpretation of this weird fashion, was sold for CHF 920K before fees by Kornfeld on June 15, 2012.
Kirchner has to face the facts. Life in Berlin is not communal. Each individual is isolated in the crowd. At that time prostitutes were the queens of the Berlin sidewalk. They are recognizable by customers from odd signs which are not sufficient to make them intercepted by the police of morals : the high feather on the hat, the tight dresses in too bright colors.
The Strassenszene series, begun at the end of 1913 and interrupted by the war, marks Kirchner's attempt to interpret this city life which he did not want. An oil on canvas 122 x 91 cm painted in 1913 or 1914 was sold for $ 38M including premium by Christie's on November 8, 2006 over a lower estimate of $ 18M, lot 37. The image is shared by Wikimedia.
Two cocottes walk together in the middle of a dense crowd. The characters around them go in all directions, like in a whirlwind, without any interaction between them. Two men are in the foreground, not without arrogance. They are pimps or customers. In the background, the panel of the tram 15 enables to locate the scene in the heart of the big city.
This anxiety-provoking atmosphere is also perfectly transposed by Kirchner in his wood engravings. A Strassenszene with formidably unfriendly characters passed at Sotheby's on October 23, 2017. Fünf Kokotten, a grotesque interpretation of this weird fashion, was sold for CHF 920K before fees by Kornfeld on June 15, 2012.
1915 Jesuiten by Feininger
2007 SOLD for $ 23.3M including premium by Sotheby's
narrated in 2020
The three Jesuiten by Lyonel Feininger form an interesting demonstration of the evolution of his style. His great artistic freedom based on his intuition is nourished by close contact with the European avant-gardes.
Feininger began his career as an illustrator in 1894. His line is simple and his colors are violent. The characters have small heads on very elongated bodies. In 1908 Jesuiten I remains a caricature, on the theme of the hypocrisy of the bourgeoisie.
The central figure is a prostitute with a triumphant attitude. Two clergymen look at her before deciding how they will intervene. A third Jesuit is completely disinterested in this action. This oil on canvas 60 x 55 cm was sold for £ 720K including premium by Christie's on October 17, 2000, lot 5.
Feininger reworked the same scene in 1913, to experiment with new trends. Jesuiten II, oil on canvas 73 x 60 cm, dissolves the forms in a futuristic style close to Boccioni. The round of the Jesuits around the woman brings a musicality. Throughout his life Feininger, son of a violinist and a singer, wanted to give a musical dimension to his graphic art.
Jesuiten III is an oil on canvas 75 x 60 cm painted in 1915 in a style mixing expressionism and cubism. The clergymen constitute a tight group around the prostitute which echoes the Strassenszenen by Kirchner to Berlin. The folds of the clothes form musical waves. Jesuiten III was sold for $ 23.3M including premium by Sotheby's on May 8, 2007 over a lower estimate of $ 7M, lot 22.
Feininger began his career as an illustrator in 1894. His line is simple and his colors are violent. The characters have small heads on very elongated bodies. In 1908 Jesuiten I remains a caricature, on the theme of the hypocrisy of the bourgeoisie.
The central figure is a prostitute with a triumphant attitude. Two clergymen look at her before deciding how they will intervene. A third Jesuit is completely disinterested in this action. This oil on canvas 60 x 55 cm was sold for £ 720K including premium by Christie's on October 17, 2000, lot 5.
Feininger reworked the same scene in 1913, to experiment with new trends. Jesuiten II, oil on canvas 73 x 60 cm, dissolves the forms in a futuristic style close to Boccioni. The round of the Jesuits around the woman brings a musicality. Throughout his life Feininger, son of a violinist and a singer, wanted to give a musical dimension to his graphic art.
Jesuiten III is an oil on canvas 75 x 60 cm painted in 1915 in a style mixing expressionism and cubism. The clergymen constitute a tight group around the prostitute which echoes the Strassenszenen by Kirchner to Berlin. The folds of the clothes form musical waves. Jesuiten III was sold for $ 23.3M including premium by Sotheby's on May 8, 2007 over a lower estimate of $ 7M, lot 22.
1920 Merz or the Anti-Dada
2014 SOLD 14 M£ including premium
The art of Kurt Schwitters is a direct consequence of the horrors of war. Along with Arp, he understands that the world has changed and that only a completely new vision may accompany the necessary rebirth.
Technically, Schwitters is very close to the Dada movement in which he had friends. In that defeated Germany promised to decadence, he built his art with torn newspapers and other trash. However, he opted for a positive message that is the opposite of the Dada destruction. Unsurprisingly, Schwitters was later persecuted by the Nazis chasing the decadent art.
His creed is summed up in a few cleverly chosen statements.
Pioneer of installations nearly half a century ahead of his time, he introduces himself to his colleagues as a painter who nails his pictures together.
He promotes his Merz revolution, a word that appeared perhaps by chance in one of his works after he tore a paper of the Kommerz und Privatbank. Merz is in only four letters a remarkable anticapitalist and anti-industrial motto.
On June 24 in London, Christie's sells a 1920 Merzbild in large size, 109 x 80 cm including the artist's frame. Positively titled Ja Was? Bild, it anticipates the paintings-poems by Miro. The reverse side covered by newspaper fragments must be considered as a full part of the Bild.
Ja Was? Bild is estimated £ 4M. I invite you to play the video shared by Christie's.
POST SALE COMMENT
This artwork is altogether extremely rare and historically important. It was sold for £ 14M including premium.
Technically, Schwitters is very close to the Dada movement in which he had friends. In that defeated Germany promised to decadence, he built his art with torn newspapers and other trash. However, he opted for a positive message that is the opposite of the Dada destruction. Unsurprisingly, Schwitters was later persecuted by the Nazis chasing the decadent art.
His creed is summed up in a few cleverly chosen statements.
Pioneer of installations nearly half a century ahead of his time, he introduces himself to his colleagues as a painter who nails his pictures together.
He promotes his Merz revolution, a word that appeared perhaps by chance in one of his works after he tore a paper of the Kommerz und Privatbank. Merz is in only four letters a remarkable anticapitalist and anti-industrial motto.
On June 24 in London, Christie's sells a 1920 Merzbild in large size, 109 x 80 cm including the artist's frame. Positively titled Ja Was? Bild, it anticipates the paintings-poems by Miro. The reverse side covered by newspaper fragments must be considered as a full part of the Bild.
Ja Was? Bild is estimated £ 4M. I invite you to play the video shared by Christie's.
POST SALE COMMENT
This artwork is altogether extremely rare and historically important. It was sold for £ 14M including premium.
1938 The Fury of the Birds
2017 SOLD for £ 36M including premium
After the First World War, German artists like Max Beckmann, Max Ernst, George Grosz and Otto Dix brought social criticism to the level of a major art far beyond caricature. Of course the Nazi regime does not agree. Beckmann is one of the targets of Hitler's furious attacks on degenerate art.
Beckmann precipitately left Germany in 1937 and settled in Amsterdam. Like Miro at the same time in Spain, he could not manage to stay away from politics. He immediately conceived a great composition, first entitled Der Land des Wahnsinningen (the country of the insane) which would express his horror of the collectivisms.
Completed at the end of the summer of 1938, Hölle der Vögel (hell of birds) is the achievement of that project. This oil on canvas 120 x 160 cm is for sale by Christie's in London on June 27, lot 11. Three days before the press release of May 8, Financial Time announced an estimate of £ 30M.
This scene mixes the medieval and the modern to better express the permanent threat of abject persecution. Tortures are inflicted by hooded birds. In a claustrophobic atmosphere with black lines and garish colors, the victim chained on an Inquisition bed is a light spot. A bird plows his back to the blood with a large knife.
This lugubrious ceremony is presided by a harpy standing out of her broken egg with a monstrous breast. The crowd of secondary characters is made up of screaming nudes who perform the Hitler Grüss, removing any possible doubt about the interpretation of this allegory in the modern world.
The narrative abundance in that work is inspired by medieval imagery. The choice of the bird as a symbol of blind fury reminds the man-swallowing bird in Bosch's Hell.
The political violence in Hölle der Vögel may be compared to Picasso's Guernica, also conceived in 1937. Beckmann's painting, cautiously preserved in a private apartment in Paris until the end of the Second World War, would have deserved a similar notoriety.
Please watch both videos shared by Christie's, one of thempositioning the artwork within Beckmann's career and the other one in which the auction house chose to accompany it by the reading of a similarly inspired poem by W. H. Auden.
Beckmann precipitately left Germany in 1937 and settled in Amsterdam. Like Miro at the same time in Spain, he could not manage to stay away from politics. He immediately conceived a great composition, first entitled Der Land des Wahnsinningen (the country of the insane) which would express his horror of the collectivisms.
Completed at the end of the summer of 1938, Hölle der Vögel (hell of birds) is the achievement of that project. This oil on canvas 120 x 160 cm is for sale by Christie's in London on June 27, lot 11. Three days before the press release of May 8, Financial Time announced an estimate of £ 30M.
This scene mixes the medieval and the modern to better express the permanent threat of abject persecution. Tortures are inflicted by hooded birds. In a claustrophobic atmosphere with black lines and garish colors, the victim chained on an Inquisition bed is a light spot. A bird plows his back to the blood with a large knife.
This lugubrious ceremony is presided by a harpy standing out of her broken egg with a monstrous breast. The crowd of secondary characters is made up of screaming nudes who perform the Hitler Grüss, removing any possible doubt about the interpretation of this allegory in the modern world.
The narrative abundance in that work is inspired by medieval imagery. The choice of the bird as a symbol of blind fury reminds the man-swallowing bird in Bosch's Hell.
The political violence in Hölle der Vögel may be compared to Picasso's Guernica, also conceived in 1937. Beckmann's painting, cautiously preserved in a private apartment in Paris until the end of the Second World War, would have deserved a similar notoriety.
Please watch both videos shared by Christie's, one of thempositioning the artwork within Beckmann's career and the other one in which the auction house chose to accompany it by the reading of a similarly inspired poem by W. H. Auden.
1938 Self Portrait with Horn by Max Beckmann
2001 SOLD 22.5 M$ including premium by Sotheby's
narrated in 2020
Max Beckmann does not accept that his art is described as degenerate by Hitler. Painted in 1936, his self-portrait with a crystal ball is a poignant message : he would like to react but does not have the solution. He is only 52 but he certainly appreciates that his premature aging and his surly attitude will not help him. The shadow over the eyes does not encourage dialogue. This oil on canvas 110 x 65 cm was sold for $ 16.8M including premium by Sotheby's on May 3, 2005.
In 1937 it is much worse. The Nazis confiscate 500 of his works from museums and include several in the Degenerate Art Exhibition in Munich. Threatened with imprisonment and castration, Beckmann flees Germany and settles in his sister-in-law's home in Amsterdam.
His works mark then a desire for revenge, now with a scathing criticism of the Nazi regime. Hölle der Vögel, oil on canvas 120 x 160 cm completed in 1938, was sold for £ 36M including premium by Christie's on June 27, 2017.
On May 10, 2001 Sotheby's sold for $ 22.5M including premium a Self-portrait with horn, oil on canvas 110 x 100 cm painted in 1938.
The instrument is not played but brandished at the height of the closed mouth like a helpless challenge. The sullen mouth expresses anxiety and once again the eyes are in the shade. The striped jacket resembles the coat of a convict or a Harlequin.
In 1937 it is much worse. The Nazis confiscate 500 of his works from museums and include several in the Degenerate Art Exhibition in Munich. Threatened with imprisonment and castration, Beckmann flees Germany and settles in his sister-in-law's home in Amsterdam.
His works mark then a desire for revenge, now with a scathing criticism of the Nazi regime. Hölle der Vögel, oil on canvas 120 x 160 cm completed in 1938, was sold for £ 36M including premium by Christie's on June 27, 2017.
On May 10, 2001 Sotheby's sold for $ 22.5M including premium a Self-portrait with horn, oil on canvas 110 x 100 cm painted in 1938.
The instrument is not played but brandished at the height of the closed mouth like a helpless challenge. The sullen mouth expresses anxiety and once again the eyes are in the shade. The striped jacket resembles the coat of a convict or a Harlequin.
1954 The Open-Wheeled Champion
2013 SOLD 19.6 M£ including premium
Everything goes very fast, in any meaning of the word, for Mercedes-Benz at the beginning of 1954. Technology is the best asset to win competitions. For coming back to racing, the German brand aligns the 300SL model for endurance and the W196 single-seater model for Formula 1.
They must win. Mercedes managed to take the best driver, Juan Manuel Fangio, world champion in 1951 with Alfa Romeo, who had just won the first two grand prix of the season on a Maserati.
For their first collaboration, Mercedes and Fangio win the Reims grand prix on a W196 with enclosed wheels. Surrounding the wheel by a piece of bodywork is a theoretical advantage because it limits the impact of air friction. The top speed exceeds 200 km / h.
At that time, the skill of the pilot is prevailing on theories. The next grand prix, at Silverstone, is sinuous. Powerless against Ferrari, Fangio requires the withdrawal of the enclosing to improve his freedom of action. This is the right decision.
Thus are born the chassis 005 and 006 of the W196. With the open wheeled 006, Fangio wins the next two grand prix, in Germany at the Nürburgring and in Switzerland at Bremgarten.
The 006 has no rival for the title of most prestigious single-seater car of all time, formerly driven by the most skilful driver of all time. It is for sale on July 12 by Bonhams at Goodwood.
POST SALE COMMENT
006 is not far from being the most prestigious car of all time in all categories. Its result at auction is the highest of all time: £ 19.6 million including premium.
An open wheeled W196 (perhaps the 006) is driven by Fangio himself during a demonstration at the Nürburgring in 1986. The image below is licensed under Creative Commons with attribution By Lothar Spurzem [CC-BY-SA-2.0-de (http://creativecommons.org/licenses/by-sa/2.0/de/deed.en)], via Wikimedia Commons.
They must win. Mercedes managed to take the best driver, Juan Manuel Fangio, world champion in 1951 with Alfa Romeo, who had just won the first two grand prix of the season on a Maserati.
For their first collaboration, Mercedes and Fangio win the Reims grand prix on a W196 with enclosed wheels. Surrounding the wheel by a piece of bodywork is a theoretical advantage because it limits the impact of air friction. The top speed exceeds 200 km / h.
At that time, the skill of the pilot is prevailing on theories. The next grand prix, at Silverstone, is sinuous. Powerless against Ferrari, Fangio requires the withdrawal of the enclosing to improve his freedom of action. This is the right decision.
Thus are born the chassis 005 and 006 of the W196. With the open wheeled 006, Fangio wins the next two grand prix, in Germany at the Nürburgring and in Switzerland at Bremgarten.
The 006 has no rival for the title of most prestigious single-seater car of all time, formerly driven by the most skilful driver of all time. It is for sale on July 12 by Bonhams at Goodwood.
POST SALE COMMENT
006 is not far from being the most prestigious car of all time in all categories. Its result at auction is the highest of all time: £ 19.6 million including premium.
An open wheeled W196 (perhaps the 006) is driven by Fangio himself during a demonstration at the Nürburgring in 1986. The image below is licensed under Creative Commons with attribution By Lothar Spurzem [CC-BY-SA-2.0-de (http://creativecommons.org/licenses/by-sa/2.0/de/deed.en)], via Wikimedia Commons.
1967 The Psychedelic Jungle of Sigmar Polke
2015 SOLD for $ 27M including premium
On June 29, 2011, Sotheby's sold for £ 5.75M including premium Dschungel (Jungle), a dotted painting on canvas 160 x 245 cm executed in 1967 by Sigmar Polke.
At that time Polke was a young photographer and painter who had not yet completed his art studies. Along with his elder fellow Gerhard Richter, another East German passed to the West, he considered the anti-Art of creating large size images from trivial pictures.
They were influenced by the pop art of Lichtenstein and Warhol with an additional feeling typical of Germany at that time, questioning the contradiction between leisure and war for the use of our planet.
In the same 2011 sale, Stadtbild II painted in 1968 by Polke was sold for £ 4.6M including premium. The theme looks opposite to Jungle, the city against the tropical scenery, but the contrasts of colors are similarly striking and both artworks question the society by imitating the travel posters.
I described Dschungel as follows before the 2011 sale :
The unidentified tropical landscape in backlighting is dominated by a huge sun rising or setting over the sea with a spectacular halo. The painting, including dark leaves in the foreground, is entirely built with small dots of color, as if it were an advertisement poster.
Dschungel is now lot 8 for sale by Sotheby's in New York on May 12.
At that time Polke was a young photographer and painter who had not yet completed his art studies. Along with his elder fellow Gerhard Richter, another East German passed to the West, he considered the anti-Art of creating large size images from trivial pictures.
They were influenced by the pop art of Lichtenstein and Warhol with an additional feeling typical of Germany at that time, questioning the contradiction between leisure and war for the use of our planet.
In the same 2011 sale, Stadtbild II painted in 1968 by Polke was sold for £ 4.6M including premium. The theme looks opposite to Jungle, the city against the tropical scenery, but the contrasts of colors are similarly striking and both artworks question the society by imitating the travel posters.
I described Dschungel as follows before the 2011 sale :
The unidentified tropical landscape in backlighting is dominated by a huge sun rising or setting over the sea with a spectacular halo. The painting, including dark leaves in the foreground, is entirely built with small dots of color, as if it were an advertisement poster.
Dschungel is now lot 8 for sale by Sotheby's in New York on May 12.
1988 Self Portrait of Kippenberger in Picasso Underpants
2014 SOLD for $ 22.6M including premium
Regarding painting, the time of Martin Kippenberger could have been a lost generation. He admires Picasso as the ultimate artist who summarizes the art of the twentieth century. He likes the photo made by Duncan in 1962 where Picasso is shirtless, wearing only white underpants.
In 1988, Kippenberger is activist, ambitious and worldly. Coming to Vienna for business, he unintentionally arrives in a grubby hotel because all the others are full. He stages himself in Picasso pants and looks in the mirror. He sees how much he is ugly.
Kippenberger's self-portraits in Picasso underwears display an unpleasant bearded man with a beer belly. He is 35 years old. This series not only shows the beginning of the inexorable physical decline of the artist, but it mostly questions the future of artistic expression in the classis form of painting.
On November 12 in New York, Christie's sells an oil on canvas 242 x 202 cm, lot 40 estimated 15M. In an arrogant attitude opposite to Picasso's, the man without legs is placed on a shelf as if he were a pottery.
Another painting of same size was sold for $ 18.6M including premium by Christie's on May 12, 2014. The man is seen through a buttocks-shaped keyhole. His attitude is so abject that he prefers hiding his head in a blue drop.
Another one, sold for $ 4.1M including premium by Sotheby's on May 12, 2009, had been discussed in this column. Showing the man bending as for vomiting, it is the most realistic of these three artworks.
In 1988, Kippenberger is activist, ambitious and worldly. Coming to Vienna for business, he unintentionally arrives in a grubby hotel because all the others are full. He stages himself in Picasso pants and looks in the mirror. He sees how much he is ugly.
Kippenberger's self-portraits in Picasso underwears display an unpleasant bearded man with a beer belly. He is 35 years old. This series not only shows the beginning of the inexorable physical decline of the artist, but it mostly questions the future of artistic expression in the classis form of painting.
On November 12 in New York, Christie's sells an oil on canvas 242 x 202 cm, lot 40 estimated 15M. In an arrogant attitude opposite to Picasso's, the man without legs is placed on a shelf as if he were a pottery.
Another painting of same size was sold for $ 18.6M including premium by Christie's on May 12, 2014. The man is seen through a buttocks-shaped keyhole. His attitude is so abject that he prefers hiding his head in a blue drop.
Another one, sold for $ 4.1M including premium by Sotheby's on May 12, 2009, had been discussed in this column. Showing the man bending as for vomiting, it is the most realistic of these three artworks.
