50,000 to - 70,000 GBP
1944 - 2014
incised with the artist’s signature, dated 2001 and numbered 1/8
bronze, in two parts with plinth
overall: 196 by 62 by 38 cm. 77 1/8 by 24 3/8 by 15 in.
Executed in 2001, this work is number 1 from an edition of 8.
Please note the colours in the online catalogue illustration may vary depending on screen settings.
This work is in very good condition. There are tonal and textural shifts to the bronze, which are inherent to the nature and patina of the artist's chosen medium. Close inspection reveals some superficial scratches to the bronze base and the plinth.
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 beauty is ambiguous, a double-edged sword that can easily hurt you, causing pain and torture. My art is an example of this dichotomy: mesmerising perfection attached to corrupted imperfection.’ (Igor Mitoraj cited in: Christopher Masters, ‘Igor Mitoraj Obituary’, The Guardian, 17 October 2014, online.) Igor Mitoraj’s oeuvre is rooted deeply in the classical tradition, greatly influenced by ancient Greek and Roman art and fused with a postmodern malaise.
Typical of Mitoraj’s practice, Untitled, 2001 exudes with fragmented energy and classical beauty. Comprised of a disembodied head and limbless torso, the work is made all the more striking through it’s slick black surface. The torso appears wrapped with bandages constricting the figure, a large medallion moulded from the same dark bronze is fixed on to the sculpture and depicts a second classical male figure, his arms spread wide, almost touching the frame of the panel. The sculpture draws heavily on Roman and Greek heritage and highlights Mitoraj’s absorption with the dialectic between perfection and imperfection.
Mitoraj mobilises the tradition of the sculptural nude to probe the nature of the human body, its beauty and fragility as well as its suffering. The thematic rupturing presented through deliberately truncated limbs underlines this paradox of the human condition. ‘I feel that a piece of arm or a leg speak far more strongly than a whole body’ (ibid).