- 5
Toyen (Marie Čermínová)
Description
- Toyen (Marie Čermínová)
- ...Et une bouteille de rhum!
- signed and dated Toyen 59 lower right; signed, titled and dated on the stretcher
- oil on canvas
- 38 by 61cm., 15 by 24in.
- 38.1 by 61 cm
Provenance
Exhibited
Prague, City Gallery Prague, House of the Stone Bell, Toyen, 2000, no. 314, p. 233, illustrated in the exh. cat.
Condition
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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
Painted in 1959, ...Et une bouteille de rhum! dates from Toyen’s post-war Surrealist period, in which her compositions typically featured intangible hazy, amorphous backgrounds with nebulous shapes vearing towards abstraction. From the mid-Fifties onwards, Toyen laid greater stress on the sensual aspects of colour and shape and fluid colour and produced a series of dark canvases from which colours, silhouttes or shapes would emerge. Shimmers of colours would sometimes brighten an almost monochrome background, as in the present work. They appear as spectres which evaporate and disintegrate. „By the end of the 1950s and early 1960s Toyen had developed extreme dematerialisation of shape, reaching the very fringes of physical existence. (...) Her inner vision became so far removed from an immediate perception of the world that it was hardly possible to cling to any motif which would contribute to its clarification.‘‘ (Karel Srp, Toyen, Prague, 2000, pp. 239 & 241).
To Toyen, free imagination assumed the same convincing, self-evident and material consistency of the world of everyday reality. Through these paintings, the imagination seeks a world which would correspond with it in the sphere of the phenomenal real, producing the unsettling 'convulsive beauty' which for André Breton represented the aim of Surrealism in the visual arts.
Representing the unconscious and irrationality, the theme of night was a typical Surrealist trope, rooted in the Romantic movement of the previous century. While the present work certainly has visual parallels to an abstract nocturnal landscape, it is quintessentially an expression of Toyen’s own personal interior landscape and state of mind at the time of its creation. The title anticipates Mikulas Medek’s own abstract-surrealist works from the mid-1960s which were inspired by the works of Toyen and Max Ernst and explored the themes of sleep and alcohol-induced sleep, such as Too Much Alcohol II (Vodka) (lot 2).