5
5
John Currin
STUDY FOR BENT WOMAN
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5
John Currin
STUDY FOR BENT WOMAN
估價
Irrevocable Bids
Lots with this symbol indicate that a party has provided Sotheby’s with an irrevocable bid on the lot that will be executed during the sale at a value that ensures that the lot will sell. The irrevocable bidder, who may bid in excess of the irrevocable bid, will be compensated based on the final hammer price in the event he or she is not the successful bidder or may receive a fixed fee in the event he or she is the successful bidder. If the irrevocable bidder is the successful bidder, the fixed fee (if applicable) for providing the irrevocable bid may be netted against the irrevocable bidder’s obligation to pay the full purchase price for the lot and the purchase price reported for the lot shall be net of such fixed fee. If the irrevocable bid is not secured until after the printing of the auction catalogue, a pre-lot announcement will be made indicating that there is an irrevocable bid on the lot. If the irrevocable bidder is advising anyone with respect to the lot, Sotheby’s requires the irrevocable bidder to disclose his or her financial interest in the lot. If an agent is advising you or bidding on your behalf with respect to a lot identified as being subject to an irrevocable bid, you should request that the agent disclose whether or not he or she has a financial interest in the lot.
Double Dagger
Indicates that the lot is being sold whilst subject to Temporary Importation, and that VAT is due at the reduced rate
Guaranteed Property
Guaranteed Property. The seller of lots with this symbol has been guaranteed a minimum price from one auction or a series of auctions. If every lot in a catalogue is guaranteed, the Conditions of Sale will so state and this symbol will not be used for each lot.
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拍品已售 100,000 英鎊 成交價 (含買家佣金)
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拍品詳情

當代·當下:大衛·泰格故藏

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John Currin
生於1962年
STUDY FOR BENT WOMAN
signed and dated 2003 on the reverse
charcoal and conté crayon on paper
47.6 by 38.4 cm. 18 3/4 by 15 1/8 in.
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來源

Andrea Rosen Gallery, New York

Acquired from the above by David Teiger in 2003

出版

Kara Vander Weg and Rose Dergan, Eds., John Currin, New York 2006, p. 312, illustrated in colour

相關資料

Created as a study for one of John Currin’s most celebrated paintings, Bent Lady (Private Collection, UK), the present work epitomises the artist’s extraordinary technical proficiency and classical draftsmanship. Recalling the expressive distortions of the human form employed by High Mannerist artists such as Bronzino and Jacopo da Pontormo, and in turn the French Neo-Classicists of the Nineteenth Century, such as Jean-Auguste-Dominique Ingres, Currin positions himself within an artistic lineage that sublimates its subjects to artistic ideals. His work is unsettling, despite the extraordinary virtuosity and beauty of its execution. In the case of Bent Lady, the ‘bend’ after which the work is named manifests as a violent rupture of form as the woman’s trunk pivots alarmingly and impossibly, snapping her upper half back into the canvas.

In the present work however, Currin abbreviates his subject, focussing solely on the head and impossibly slender neck. The movement of the body is implied as his subject’s hair is flung out to the side, however the violence of the final composition is avoided. Indeed, there is something almost tender to the drawing, with the highly rendered contrasts where the light catches her cheeks, chin and forehead implying a moment of joyful abandon. This vacillation between the beautiful and the repellent typifies Currin’s practice. As Norman Bryson observed, “Currin’s technique involves a continuous swerve between attraction and repulsion, pleasure and guilt, joy and shame. The surface in his work is radically heterogeneous: some areas, even some strokes, move closer toward ideality; other areas, often adjacent, move away… The codes of ideality and the grotesque are jammed together; they become interchangeable and undecideable” (Norman Bryson, “Maudit: John Currin and Morphology”, in: Kara Vander Weg and Rose Dergan, Eds., John Currin, New York 2006, p. 30). Epitomising this juxtaposition and superbly demonstrating Currin’s virtuosic stylistic decadence, Study for Bent Woman is an exquisite example of the artist’s drawing, a pivotal part of the artist’s practice that he once described as “a flirtation with the real” (John Currin in: Brett Littman, “Drawing is a First Date”, Gagosian Quarterly, Fall 2017, online).

當代·當下:大衛·泰格故藏

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