Lot 65
  • 65

Ori Reisman

Estimate
30,000 - 40,000 USD
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Description

  • Ori Reisman
  • Landscape
  • signed in Hebrew (lower right)
  • oil on canvas
  • 26 by 30 3/4 in.
  • 66 by 78 cm.
  • Painted in the 1980s.

Provenance

Sale: Gordon Gallery, Tel Aviv, January 5, 1992, lot 438
Acquired by the present owner at the above sale

Exhibited

Beer Sheva, Negev Museum of Art, Endless Encounters: Works by Michael Gross and Ori Reisman from the Phoenix Company Collection, 2006

Condition

Original canvas. There is faint craquelure scattered . Otherwise, in very good condition. Colors are fresh and vibrant. No retouching is apparent when viewed under ultra violet light.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Catalogue Note

"Ori Reisman of Kibbutz Kabri in Western Galilee got his specialized training at the Academy of Beaux Arts in Paris in the fifties. Skirting an abbreviated lyrical abstract, his colorist paintings (tending to red-green matchings) depicted landscapes and figures, fusing nature and sensuality... An unconscious kinship with the semiabstract paintings of the American Milton Avery characterizes the minimalism and the tension of contrasts and balances on the broad, flat-colored surfaces. A lyrical-abstract residue from the seminars Zartisky and his colleagues conducted in the kibbutzim in the late forties was converted by Reisman into uniform-color surfaces (as he had learned from his Parisian teacher, Jean Souverbie), which he applied to positions of man and nature. A humanized nature and a poetical relationship between man and universe are seen in landscapes of fields and in earth-sky depictions. Reisman took part in Group of Ten exhibitions in the fifties and those of Climate in the seventies; he always steered a middle course between autonomous concise color values and an affection for the local light and landscape, suffused with sincerity and empathy." (Gideon Ofrat, One Hundred Years of Art in Israel, Colorado, 1998, p. 294-295).