- 45
巴爾蒂斯
估價
500,000 - 700,000 USD
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招標截止
描述
- Balthus
- 《站立的女孩》
- 款識：藝術家簽名Bs（右下）
- 蠟筆象皮紙
- 37 3/8 x 27 1/2 英寸
- 100 x 70 公分
signed Bs (lower right)
crayon on paper
100 by 70cm.
Executed in 1972.
crayon on paper
100 by 70cm.
Executed in 1972.
來源
Galerie Claude Bernard, Paris
Pierre & São Schlumberger
Acquired from the Estate of the above by the present owner in 1988
展覽
Paris, Galerie Claude Bernard, Balthus: dessins, 1978-79
Berne, Kunstmuseum Bern, Balthus: Zeichnungen, 1994, no. 69, illustrated on the cover of the catalogue
出版
Jean Leymarie, Balthus, Geneva, 1990, illustrated pl. XIII
Virginie Monnier, Balthus, Catalogue Raisonné de l'œuvre complet, Paris, 1999, no. D1268, illustrated p. 360
Condition
Executed on textured (elephant skin) paper. The extreme edges of the sheet are slightly discoloured. Apart from on tiny loss to the left edge and some creasing to the corners, this work is in very good condition.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
拍品資料及來源
The central motif in Balthus's oeuvre is the female nude. These pictures explore the sensuous geometry of the body and exploit the tantalizing potential of a bent knee or an exposed thigh. Balthus depicted his models in variations of this salacious pose numerous times, resulting in the most definitive images of his art. The present work was drawn in the Turkish Room at the Villa Medici in Rome, where Balthus served as the director of the French Academy. This same room was the setting for the eponymous painting, now in the collection of the Musée National d'Art Moderne, Centre Georges Pompidou.
Balthus stylizes and idealizes the bodies of his young models, frequently returning to motifs that have long enduring significance in Western art. The confident stance of the nude in the present work calls to mind the strong and beautifully delineated standing nudes of Ingres. In his memoirs, the artist wrote the following about his drawings of young women: "There is no more exacting discipline than capturing these variations in faces and poses of my daydreaming young girls. The drawing's caress seeks to rediscover a childlike grace that vanishes so quickly, leaving us with an inconsolable memory. The challenge is to track down the sweetness so that graphite on paper can re-create the fresh oval of a face, a shape close to angels' faces" (Balthus, Vanished Splendors, A Memoir, New York, 2002, p. 65).
Balthus stylizes and idealizes the bodies of his young models, frequently returning to motifs that have long enduring significance in Western art. The confident stance of the nude in the present work calls to mind the strong and beautifully delineated standing nudes of Ingres. In his memoirs, the artist wrote the following about his drawings of young women: "There is no more exacting discipline than capturing these variations in faces and poses of my daydreaming young girls. The drawing's caress seeks to rediscover a childlike grace that vanishes so quickly, leaving us with an inconsolable memory. The challenge is to track down the sweetness so that graphite on paper can re-create the fresh oval of a face, a shape close to angels' faces" (Balthus, Vanished Splendors, A Memoir, New York, 2002, p. 65).