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41

OSCAR DOMINGUEZ | MON MODÈLE

Artist's Resale Right

Estimate:

150,000 to - 200,000 EUR

MASSON AND DOMINGUEZ FROM AN IMPORTANT PRIVATE COLLECTION

OSCAR DOMINGUEZ | MON MODÈLE

OSCAR DOMINGUEZ | MON MODÈLE

Estimate:

150,000 to - 200,000 EUR

MASSON AND DOMINGUEZ FROM AN IMPORTANT PRIVATE COLLECTION


OSCAR DOMINGUEZ

1906 - 1957

MON MODÈLE


signed and dated 57

oil on canvas


(firmato e datato 57

olio su tela)


cm 113,5x162; inches 44.7 by 63.8


Framed (con cornice): cm 117,5x165,5x3,5; inches 46.25 by 65.15 by 1.37


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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.

Galleria Milano, Milan

Collezione Scalabrini, Milan

Sandro Somarè Collection, Milan

Acquired from the above by the present owner in 1970 circa (Ivi acquistato dall'attuale proprietario nel 1970 circa)

Leverkusen, Städtisches Museum Schloss Morsbroich, Oscar Dominguez, 1967, n. 83

Milan, Galleria Milano, Oscar Dominguez, 1969, n. 38

Turin, Galleria Narciso, Oscar Dominguez, 1969, n. 52

Las Palmas de Gran Canaria, Centro Atlántico de Arte Moderno; Santa Cruz de Tenerife, Centro de Arte La Granja & Madrid, Museo Nacional Centro de Arte Reina Sofía, Óscar Domínguez Antológica 1926-1957, 1996, n. 168, illustrated in colour

"He interprets reality with a tenacity that is so consistent that we can say that more than anyone else, he only paints what he dreams" Georges Hugnet on Oscar Dominguez, 1954


It was precisely towards the end of his career that Oscar Dominguez seems to take up the reins of his first Surrealist period, both in composition and in technique. An intensely creative phase of which Mon Modèle is an emblematic witness. Dominguez had joined the Surrealists in 1934, forging a special relationship with Max Ernst and Salvador Dalì, who had a significant influence on him. He participated in all the main exhibitions that the group held, including The First International Surrealist Exhibition in Copenhagen (1935) and the Surrealist art exhibition in Santa Cruz de Tenerife (1936). He remained tied to the spirit of the movement, even in the 1940s and 1950s, through acquaintances with some of the historical members, such as the poets Benjamin Peret and Paul Éluard.


Surrealist elements and techniques were reworked with originality in its late period, of which this work, permeated with a dreamlike and mysterious aesthetic, is an example. The landscape extending towards an unknown horizon, the labyrinth as a metaphor for dreams and the mind, the technique of frottage and decal painting – frequently employed by Max Ernst - are all recurring elements that, at this stage in his career, the artist from Tenerife wishes to recall as in a dreamed of legacy. It is a projection of his inner journey guided by the flow of thought and desire. His own words explain his creative process: “I position myself in front of the canvas and things happen automatically. Very often, up to a minute before I start painting, I have no idea what I'm going to do. The inspiration comes to me suddenly."


Wrapped in an apparently extra-earthly dimension, Mon Modèle is a significant synthesis of symbols, techniques and hidden messages that are found throughout Dominguez's production. It is one of the last, great examples of the work of an artist who was able to express at the same time the "evanescence of the tangible and the solidification of time".

 

“Interpreta la realtà con una tenacia così forte che si può affermare che, più di chiunque altro, egli dipinga solo ciò che sogna” Georges Hugnet su Oscar Dominguez, 1954


È proprio verso la fine della sua carriera che Oscar Dominguez sembra riprendere le fila del suo primo periodo surrealista, sia nella composizione che nella tecnica: un’ultima e intensa fase creativa di cui Mon Modèle è emblematico testimone. Dominguez si era unito al gruppo dei Surrealisti nel 1934, stringendo un rapporto particolare con Max Ernst e Salvador Dalì, che esercitarono una notevole influenza su di lui: partecipò a tutte le principali esposizioni del gruppo, tra cui La prima Esposizione Internazionale del Surrealismo a Copenhagen (1935) e la mostra d’arte Surrealista a Santa Cruz de Tenerife (1936). Rimase sempre legato allo spirito del movimento, anche negli anni ’40 e ’50, attraverso le frequentazioni con alcuni dei membri storici, come i poeti Benjamin Peret e Paul Eluard.


Elementi e tecniche surrealiste furono poi rielaborate con originalità nel suo ultimo periodo, di cui quest’opera, permeata di un’estetica onirica e misteriosa, è esemplificativa: il paesaggio esteso verso un orizzonte sconosciuto, il tema del labirinto come metafora del sogno e della mente, la tecnica del frottage e della pittura a decalcomania (ampiamente utilizzata anche da Max Ernst) sono tutti elementi ricorrenti che, all’ultimo atto della sua esperienza, l’artista di Tenerife desidera richiamare come in un eredità di sogno, proiezione del suo viaggio interiore guidato dal flusso del pensiero e del desiderio. Nulla meglio delle sue stesse parole possono spiegare il suo procedimento creativo: “Mi posiziono davanti alla tela e le cose succedono automaticamente. Molto spesso, fino a un minuto prima di cominciare a dipingere, non ho alcuna idea di ciò che farò. L’ispirazione arriva all’improvviso”.


Avvolta in una dimensione apparentemente extra-terrena, Mon Modèle è una significativa sintesi di simboli, tecniche e messaggi nascosti che si ritrovano di volta in volta in tutta la produzione di Dominguez: uno degli ultimi, grandiosi esempi dell’opera di un artista che fu capace di esprimere al tempo stesso l’”evanescenza del tangibile e la solidificazione del tempo”.