拍品 33
  • 33

SIMON HANTAÏ | Peinture

估價
200,000 - 300,000 EUR
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招標截止

描述

  • Simon Hantaï
  • Peinture
  • signed, dated 1958-59 and inscribed; signed and dated 1958-59 on the reverse
  • oil on canvas
  • 208 x 200 cm; 81 7/8 x 78 3/4 in.
  • Executed in 1958-1959.

來源

Private Collection, Paris (acquired directly from the artist in 1959)

出版

Kalman Maklary, Simon Hantaï, Volume I, 1949-1959, Budapest, 2012, p. 250, illustrated in colour 

拍品資料及來源

“It is my painting, I have looked at it a lot but it still slips away from me and impresses me.” Simon Hantaï At the end of the 1950s, Simon Hantaï broke away from the Surrealist and gestural aesthetic he used to employ and that was so essential to the formation of his artistic thought. Further to his rupture with André Breton and Georges Mathieu, whose powerful and impulsive gesture he admired, Hantaï decided to distance himself from the major artistic movement of his times to elaborate a unique artistic vocabulary. From then on, he continuously asserted his singularity through the creation of radical works like Sans Titre, 1958-59.

Executed with the aid of an “outil-réveil” made from an old alarm clock with which he scratched the surface of the painting until oblong iridescent forms appeared, Untitled is the result of Hantaï’s unique technique developed at the end of 1958 and that he called  “petites touches réveil”. At the heart of this remarkable composition, the motifs circle and combine as in A Galla Placidia, 1958-59, one of Hantaï’s masterpiece kept at the Musée d’Art Moderne de La Ville de Paris. And as with A Galla Placidia, Untitled testifies to Simon Hantaï’s extraordinary intellectual and aesthetic development on the brink of discovering his “pliage” technique.

From the nebulous construction of the painting emerges a central mysterious ghostly form that seems to be almost imaginary. Untitled is thus also a powerful declaration of the spiritual character of Hantaï’s work. The use of a clock, as a reminder of the passing of time, also translates Hantaï’s desire to bring an esoteric and philosophical dimension to painting, and therefore assert himself as one of the most independent and radical figures of the French art scene of his time.