Victor Brauner

Collection Andre Breton, Paris (sa vente : Calmels Cohen, Paris, 15 avril 2003, lot 4273 (non attribue))
Acquis lors de cette vente par le proprietaire actuel

Wilhelm-Hack-Museum Ludwigshafen Am Rhein ; Kunstverein Ludwigshafen am Rhein, Gegen Jede, Vernunft, Surrealismus Paris-Prag, 2009-10, no. 53, reproduit p. 120

The canvas is not lined. Examination under UV light reveals some scattered spots of retouching along the right edge, a small 1 cm area of retouching in the lower left corner, 6 small areas of retouching along the upper edge and a small 1 cm spot of retouching to cover a slight waviness of the canvas. This work is in overall good condition.
"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."

oil on canvas. Painted in 1934.

 

Peinte à Paris en 1934, après la première exposition exclusivement consacrée à ses oeuvres par la Galerie Pierre, organisée par André Breton qui rédigea la préface du catalogue, cette puissante composition présente le personnage récurrent de plusieurs des premières toiles de Brauner, Mr K, reconnaissable à sa moustache dressée vers le haut et à son embonpoint. Ce nouvel Ubu renvoie directement à un substitut dégradé de la personnification du Mal politique, en premier lieu Hitler qui accède aux pleins pouvoirs en Allemagne en 1933. Le dictateur vient de passer du rang de redoutable harangueur de masses à celui du chef. Les masques tombent, de même que le nez rouge de clown dont Brauner pouvait l'affubler pour mieux le ridiculiser.    
La scène désertique composée de planches de bois évoque le décor de certains tableaux métaphysiques dits "prémonitoires " de Giorgio De Chirico. 
Cette intense charge politique, doublée d'une composition renvoyant au berceau pictural du Surréalisme ne pouvait que séduire André Breton à une époque où la politisation de son mouvement engageait le Surréalisme dans un affrontement direct et sans compromis avec toute forme de fascisme, qu'elle soit politique, intellectuelle ou artistique.

 

This powerful composition by Victor Brauner was painted in Paris in 1934, after André Breton organised the first exhibition exclusively devoted to the artist's work at the Galerie Pierre and penned the preface to the catalogue.  It features Mr K, a recurring figure in several of Brauner's early works, recognisable by his upturned moustache and his stout physique.  This modern Ubu immediately suggests a personification of political Evil, in particular Hitler who had assumed power in Germany in 1933. The dictator had just been promoted from the position of formidable rabble-rouser to commander in chief. Here the masks have slipped, along with the red clown's nose that Brauner seems to have considered using to ridicule the figure further.

The deserted stage composed of bare planks of wood evokes the barren landscape of certain metaphysical "promontory" paintings by Giorgio De Chirico.  The intense political subtext, coupled with a composition recalling early Surrealist iconography was bound to captivate André Breton at a time when the politicisation of the movement was bringing Surrealism into direct conflict with fascism in all its guises, be they political, intellectual or artistic.