- 42
Serge Poliakoff
Estimate
100,000 - 150,000 EUR
bidding is closed
Description
- Serge Poliakoff
- Gris brun noir rouge
- firmato
- olio su tela
- cm 89x116
- Eseguito nel 1956
Provenance
Collezione Gérarg Mille, Parigi
Collezione Nina Dausset, Parigi
Galerie Daniel Varenne, Parigi
Galerie Pudelko, Bonn
Ivi acquistato dall'attuale proprietario negli anni Settanta
Collezione Nina Dausset, Parigi
Galerie Daniel Varenne, Parigi
Galerie Pudelko, Bonn
Ivi acquistato dall'attuale proprietario negli anni Settanta
Exhibited
Kunzelsau, Museum Wurth, Vienna, Kunstlerhaus, Serge Poliakoff, 1997-98, p. 139, illustrato a colori
Literature
Serge Poliakoff. Catalogue Raisonné, Vol. 2, 1955-1958, n. 56-75, illustrated
Connaissance des Arts, dicembre 1962, p. 139, illustrato a colori
La Gazette de l'Hotel Drouot, 22 febbraio 2008, n. 7, p. 57, illustrato a colori
La Gazette de l'Hotel Drouot, 4 aprile 2008, n. 13, p. 139, illustrato a colori
Connaissance des Arts, dicembre 1962, p. 139, illustrato a colori
La Gazette de l'Hotel Drouot, 22 febbraio 2008, n. 7, p. 57, illustrato a colori
La Gazette de l'Hotel Drouot, 4 aprile 2008, n. 13, p. 139, illustrato a colori
Condition
This work is in very good condition. There are a small retouching visible under UV light towards the center of the right margin and few retouching along the corner of the left edge visible under UV light. Colours are slightly lighter compared to the catalogue illustration.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
Catalogue Note
Eseguito nel 1956, Gris brun noir rouge esemplifica in modo magistrale l’incredibile abilità di Serge Poliakoff di sposare forma, colore e texture in un’interezza astratta naturale. Eseguito con pennellate decise e visibili, applicate con moderazione così da lasciar trapelare le varie sfumature ma con un brillante tocco di rosso acceso nel centro, questo lavoro ci appare come un armonioso melange di passaggi cromatici. Sofisticato ed elegante Gris brun noir rouge ci rivela l’abilità dell’artista nel progettare le sue opere ed al tempo stesso, la serena grazia che emana, ci ricorda i criteri propri di Poliakoff per realizzare un dipinto riuscito: “quando un’immagine è silenziosa, vuol dire che va tutto bene. Alcune mie opere cominciano col fare un baccano infernale. Sono esplosive. Ma io non sono soddisfatto fino a che non diventano silenziose. Una forma deve essere ascoltata, non vista.” ( Serge Poliakoff in: Michel Ragon, Poliakoff, Parigi 1958, p. 36)
Nel 1952, Serge Poliakoff scopre l’arte purificata Cubo-Futurista del grande Modernista Russo, Kasimir Malevich. Le composizioni Suprematiste all’avanguardia di Malevich e la minima gamma di colori utilizzata ispirò Poliakoff a ridurre il suo vocabolario pittorico e ad intensificare invece la sua composizione astratta e l’interconnessione fra toni e sfumature. L’opera qui presentata mostra l’attenzione di Poliakoff tutta volta in questa direzione ed è un meraviglioso esempio della maturità di forme, colori ed equilibrio di composizione.
Scappato dalla Russia durante la rivoluzione nel 1917, Poliakoff cominciò a studiare arte a Parigi nel 1923 ma fu solo con l’arrivo a Londra alla Slade School of Art nel 1935 che si avvicinò all’astrazione. Con il suo ritorno a Parigi trovò un’influenza formativa nel suo compatriota Wassily Kandinsky che gli mostrò il potere drammatico del colore come strumento compositivo anziché come mero ornamento. Nel frattempo Sonia e Robert Delaunay gli mostrarono come il colore potesse funzionare come emozione; come utilizzare alcune tonalità in combinazioni armoniose ed altre in dissonanti contrapposizioni potesse pervadere un’opera di emozioni oltreché dotarla di senso estetico.
Poliakoff si ispirò con vigore all’astrattismo di queste prime generazioni; i loro precedenti fiorirono nella sua pratica e ben presto ottenne una fama globale.
Executed in 1956, Gris brun noir rouge exemplifies Serge Poliakoff’s unparalleled ability to marry shape, colour and texture in an organic abstract whole.
Painted with visibly precise brushstrokes, sparingly applied so as to reveal glimpses of tones with a brilliant vivid red in the centre, this work appears as a harmonious melange of chromatic passages. Gris brun noir rouge's sophisticated elegance reveals the artist’s ability to design, whilst its mood of serene grace reminds us of Poliakoff’s own criteria for a successful painting: “When a picture is silent, it means it is all right. Some of my paintings start making an infernal din. They are explosive. But I am not satisfied until they have become silent. A form must be heard and not seen.” (Serge Poliakoff in Michel Ragon, Poliakoff, Parigi 1958, p. 36)
In 1952, Serge Poliakoff discovered the purified Cubo-Futuristic art of the great Russian Modernist, Kasimir Malevich. Malevich’s pioneering Suprematist compositions and minimal palette inspired Poliakoff to reduce his pictorial vocabulary and thus intensify his abstract design of interconnecting hues and tones. The present work shows Poliakoff’s endeavours in this regard and it is an outstanding example of maturity in form, colours and compositional balance.
Having fled Russia during the Revolution in 1917, Poliakoff began a training in art in Paris as early as 1923. It was not until he relocated to London, to study at the Slade School of Art in 1935 that the artist was introduced to abstraction proper. Upon his return in Paris, his compatriot Wassily Kandinsky was a formative influence, showing Poliakoff the dramatic potential of colour as a compositional tool, rather than mere ornament. Meanwhile, Sonia and Robert Delaunay showed Poliakoff how colour could work as emotion and how the deployment of certain hues in harmonious combination and others in dissonant juxtaposition, could imbue a work with a specific tone as well as endowing it with an aesthetic.
Poliakoff took up the mantle of these first-generation abstractionists with vigour, the precedent they had endowed in him bloomed in his praxis and he rapidly attained global critical acclaim.
Opera registrata presso gli Archives Serge Poliakoff, Parigi, con il n. 956020
Nel 1952, Serge Poliakoff scopre l’arte purificata Cubo-Futurista del grande Modernista Russo, Kasimir Malevich. Le composizioni Suprematiste all’avanguardia di Malevich e la minima gamma di colori utilizzata ispirò Poliakoff a ridurre il suo vocabolario pittorico e ad intensificare invece la sua composizione astratta e l’interconnessione fra toni e sfumature. L’opera qui presentata mostra l’attenzione di Poliakoff tutta volta in questa direzione ed è un meraviglioso esempio della maturità di forme, colori ed equilibrio di composizione.
Scappato dalla Russia durante la rivoluzione nel 1917, Poliakoff cominciò a studiare arte a Parigi nel 1923 ma fu solo con l’arrivo a Londra alla Slade School of Art nel 1935 che si avvicinò all’astrazione. Con il suo ritorno a Parigi trovò un’influenza formativa nel suo compatriota Wassily Kandinsky che gli mostrò il potere drammatico del colore come strumento compositivo anziché come mero ornamento. Nel frattempo Sonia e Robert Delaunay gli mostrarono come il colore potesse funzionare come emozione; come utilizzare alcune tonalità in combinazioni armoniose ed altre in dissonanti contrapposizioni potesse pervadere un’opera di emozioni oltreché dotarla di senso estetico.
Poliakoff si ispirò con vigore all’astrattismo di queste prime generazioni; i loro precedenti fiorirono nella sua pratica e ben presto ottenne una fama globale.
Executed in 1956, Gris brun noir rouge exemplifies Serge Poliakoff’s unparalleled ability to marry shape, colour and texture in an organic abstract whole.
Painted with visibly precise brushstrokes, sparingly applied so as to reveal glimpses of tones with a brilliant vivid red in the centre, this work appears as a harmonious melange of chromatic passages. Gris brun noir rouge's sophisticated elegance reveals the artist’s ability to design, whilst its mood of serene grace reminds us of Poliakoff’s own criteria for a successful painting: “When a picture is silent, it means it is all right. Some of my paintings start making an infernal din. They are explosive. But I am not satisfied until they have become silent. A form must be heard and not seen.” (Serge Poliakoff in Michel Ragon, Poliakoff, Parigi 1958, p. 36)
In 1952, Serge Poliakoff discovered the purified Cubo-Futuristic art of the great Russian Modernist, Kasimir Malevich. Malevich’s pioneering Suprematist compositions and minimal palette inspired Poliakoff to reduce his pictorial vocabulary and thus intensify his abstract design of interconnecting hues and tones. The present work shows Poliakoff’s endeavours in this regard and it is an outstanding example of maturity in form, colours and compositional balance.
Having fled Russia during the Revolution in 1917, Poliakoff began a training in art in Paris as early as 1923. It was not until he relocated to London, to study at the Slade School of Art in 1935 that the artist was introduced to abstraction proper. Upon his return in Paris, his compatriot Wassily Kandinsky was a formative influence, showing Poliakoff the dramatic potential of colour as a compositional tool, rather than mere ornament. Meanwhile, Sonia and Robert Delaunay showed Poliakoff how colour could work as emotion and how the deployment of certain hues in harmonious combination and others in dissonant juxtaposition, could imbue a work with a specific tone as well as endowing it with an aesthetic.
Poliakoff took up the mantle of these first-generation abstractionists with vigour, the precedent they had endowed in him bloomed in his praxis and he rapidly attained global critical acclaim.
Opera registrata presso gli Archives Serge Poliakoff, Parigi, con il n. 956020