Romanian, b. 1951
Study for Demolition I
signed and dated Jovián 2009 lower right; signed, titled and dated twice (in Hungarian and in English) on the reverse
oil on canvas
unframed: 100 by 100cm., 39¼ by 39¼in.
framed: 104 by 104cm., 41 by 41in.
Original canvas. There is one minor horizontal scratch in the upper half, visible upon close inspection. Inspection under ultra-violet light reveals no sign of retouching. This work is in good original condition and is ready to hang. Presented in a dark floating frame.
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. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color 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. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.
Jovián’s Study for Demolition I is part of a series that showcases his skills at hyperrealist, symbolic and expressive depictions. Its cross-cultural references are dense: they exhibit that painting could not exist in isolation neither from literature, music and daily rituals, nor from law or politics. Jovián’s canvases – with their technical virtuosity and plethora of symbols – make the viewer stop; they want to make an impact, but not through plainly presenting something. They are deliberately low on informational value, their striking visual impact drawing the viewer in, with the aim to engender thoughts that transform our perception of reality.
Jovián’s creative output and career were influenced by economic hardship and disapproval, and his oeuvre could not be understood without certain sociological explanations, such as the consolidation of the Romanian communist society in the early 1970s; the subsequent violent retributions straight afterwards; the various locations of vocational training and of everyday life in an utterly heterogeneous country; followed by emigration to Hungary and the experience of a Western lifestyle on both a political and social plane. Considering the formative influence of these outside events on Jovián’s life and artistic creations puts the underlying melancholy in his works in relief.