Edmond van Dooren

Galerie Francis Carette, Brussels

Brussels, Zomertentoonstelling, Doe Stil Voort, 1918

André Garitte ed., Edmond van Dooren 1896-1965: Rêver d'un monde future, Réné Magritte Museum, Brussels, 2008, p. 12, mentioned; illustrated in a period photograph

Original canvas. There are a few very minor flecks of retouching visible under ultraviolet light, notably to the top of the nearest building, and to the lower right. Apart from scattered craquelure and two repairs visible to the reverse, this work is in very good condition, with vibrant colours and a strong surface.
"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."

Painted in 1916, the present work, with its focus on a gigantic, futuristic architectural structure, explores the drama and fantasy of the skyscraper in modern architecture in New York and Chicago at the turn of the century. The buildings' monumental and exotic forms anticipate the futuristic cities found in the artwork of Fritz Lang's film Metropolis of 1926, Italian futurism and the works of De Stijl in the 1920s.

Just as Hausmann's sweeping changes to Paris' architecture and urban planning had had a profound effect on French artists in the 1860s and 1870s, the emerging dramatic skylines of America's large cities were equally awe inspiring and pointed to a brave new world in which anything was possible. The invention of new ways of communication, such as the telegraph and telephone, changed the perception of time and space, and new means of mass transport, such as cars, trains and planes set new standards for the experience of speed. In his art, Van Dooren reacted to these new experiences and scientific possibilities, turning increasingly towards visionary abstraction and futurism.

In Norse mythology, Valhalla, hall of the slain, was a majestic hall presided over by the god Odin. This vast hall had five hundred and forty doors. The rafters were spears, the hall was roofed with shields, and breast-plates adorned the benches. A wolf guarded the western door and an eagle hovered over it. Chosen by Odin, those that had died heroically in combat traveled to Valhalla upon death, led by the Valkyries, Odin's messengers and spirits of war, where they prepared for the oncoming battle of Ragnarok.

Richard Wagner had revived interest in Valhalla by setting much of Das Rheingold in this hall built by giants.