Property from the Collection of the Art Gallery of Ontario - Sold to Benefit Future Acquisitions
Greek, 1912 - 1990
ALKAR NO. 2
signed in Greek lower right; signed, titled, dated 1962 and inscribed on the stretcher
oil on canvas
114 by 145.5cm., 44¾ by 57in.
framed: 114.5 by 146cm., 45 by 57½in.
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The canvas is original and is securely attached to a keyed wooden stretcher.
The paint surface is clean and stable.
Inspection under ultra-violet light reveals some areas of fluorescence which appear to be inherent to the artist's technique and materials. There is no visible sign of restoration.
This work is in very good condition and is ready to hang.
The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot provided by Sotheby's. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colours and shades which are different to the lot's actual colour and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation because Sotheby's is not a professional conservator or restorer but rather the condition report is a statement of opinion genuinely held by Sotheby's. For that reason, Sotheby's condition report is not an alternative to taking your own professional advice regarding the condition of the lot.
Gift of the Hellenic Canadian Cultural Society, 1962
Little known outside Greece until late 1950s, Yannis Spyropoulos had his first true international success with the fourteen works exhibited at the 1960 Venice Biennale, which won him the UNESCO prize.
Although his oeuvre can generally be placed within the discourse of that ‘materic’ abstraction which characterizes the work of many post war artists in the 1950s and 60s, including that of Franz Kline, Hans Hartung and Jean Paul Riopelle, his works are often described as an attempt to reveal, through the chaos of thick impasto and multiple layering, the inner structure of the world. ‘For Spyropoulos the content of each paintng is the revelation of tones, empty spaces, dense areas, liberating gestures as well as the limits, the encoded aspirations, of strength and weakness, which the world of each artist contains’. (Efi Strousa, ‘Jannis Spyropoulos within and beyond an era’, in Jannis Spyropoulos, Athens, 1989, p. 18).