STUDIO PER TRIO
signed and dated 84
oil on board
(firmato e datato 84
olio su tavola)
cm 45,4x61; inches 17.87 by 24.02
Framed (con cornice): cm 47x62,5x3,3; inches 18.50 by 24.60 by 1.29
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This work is in very good condition. There are very minor paint losses by the corners. (L'OPERA E' IN CONDIZIONI CONSERVATIVE MOLTO BUONE. VI SONO ALCUNE MICRO CADUTE DI COLORE IN PROSSIMITA' DEGLI ANGOLI.)
Please note: Condition 11 of the Conditions of Business for Buyers (Online Only) is not applicable to this lot (Si prega di notare che l'articolo 11 delle Condizioni Generali di Vendita (Online Only) non è applicabile per questo lotto)
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.
“The idea of making a contemporary portrait seemed like a real challenge—to be able to look at a person and paint them, forgetting what you had been taught. I did it out of things I liked about abstract paintings. When I got to the flat background, that was the most exciting thing in my life—bingo! It was the first time the paintings had real energy to them” (A. Katz, quoted in “Alex Katz Interviewed by David Salle,” Alex Katz: Unfamiliar Images, Milan, 2002, p. 17).
“L'idea di fare ritratti contemporanei sembrava veramente una sfida difficile – essere in grado di guardare una persona e dipingerla, scordandoti ciò che ti era stato insegnato. Io lo ho fatto usando le cose che mi piacevano della pittura astratta. Quando sono arrivato allo sfondo piatto, quella è stata la cosa più entusiasmante della mia vita – bingo! Era la prima volte che i dipinti avevano una vera e propria energia” (A. Katz, citato in “Alex Katz Interviewed by David Salle,” Alex Katz: Unfamiliar Images, Milano, 2002, p. 17).