Almir Mavignier (b. 1925)

Private Collection, Germany
Sale: Mette Auctions, Hamburg, 15 June 2016, lot 351
Acquired from the above by the present owner

Hannover, Kestner Gesellschaft, Mavignier, October 9-November 24, 1968, no. 81, p. 117 
São Paulo, X Bienal de São Paulo, 1969, no. 69, p. 22 

This work is in good condition overall, taking its age into account. The canvas is unlined and well-stretched, and the media layer appears stable. Three fine vertical lines of craquelure are present on the left side of the painting; two lines each approximately two inches in length close to the central left edge, and one line measuring approximately one inch in length approximately two inches from the center left edge, immediately bordering the yellow dots. A faint diagonal scratch measuring approximately three inches in length extends from the lower center edge. Additional very fine lines of craquelure are visible in the center of the painting. The work is ready to hang.
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.

 „o retângulo“

a obra apresenta um retângulo   d e s f o r m a d o.
óleo sobre tela.

desformado através de uma trama (raster) de partículas de tinta
em progressão.  as menores particulas de tinta amarela foram trocadas
por partículas de tinta preta - cor do fundo - provocando uma interferencia visual,
que, com distancia do quadro,  contribue com profundidade optica da estrutura.

é errado denominar essas partículas como „pontos“ , porquê o ponto é abstrato,
não tem largura ou comprimento. 

a obra deve ser colocada à distância do observador de maneira pela qual as
partículas desaparecen, surgindo a cor amarela gradualmente.
quanto maior a distância - melhor o efeito visual.

essa desformação geométrica faz aparecer resultados inesperados. contribuindo
para o fascínio da obra.

fascinação é medida estética

„the rectangle“

the work represents a  d e f o r m e d rectangle.
oil on canvas.

deformed through a grid of paint particles
in progression.  the smallest particles of yellow paint were replaced
by particles of black paint – background color – provoking a visual interference,
which, with a distance from the painting,  contributes with the optic depth of the structure.

it is wrong to denominate these particles as „points,“  because the point is an abstraction,
it does not have length or width.

the work must be placed at a distance from the observer in a way in which the
particles disappear, the yellow color appearing gradually.
the greater the distance – the better the visual effect.

this geometric deformation offers unexpected results. contributing
to the fascination of the work.

wonder is an aesthetic measure.

almir mavignier, 2016

We are grateful to Almir Mavignier for his comments about the present work.