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Richard Lindner (1901-1978)
Lindner, R.
signed and dated 'Rich. Lindner 1955' (lower right)
oil on canvas
50 x 30 in. (127 x 76.2 cm.)
Painted in 1955
Cordier & Ekstrom, Inc., New York.
Mr. and Mrs. Leonard Lauder, New York.
Anon. sale, Christie's, New York, 8 November 1983, lot 36.
John and Paul Herring & Co., Inc., New York.
Donald Morris Gallery, Inc., Birmingham, Michigan (acquired from the above).
Acquired from the above by the present owners on 13 May 1987.
S. Tillim, Richard Lindner, Chicago, 1960, no. 2 (illustrated).
D. Ashton, "Richard Lindner, The Secret Inner Voice," Studio International, vol. CLXVII (no. 849), January 1964, pp. 12-17.
R. Penrose, "Richard Lindner," Art International, vol. XI (no. 1), January 1967, pp. 30-32.
W. Schmied, "Richard Lindner and the Human Being as a Toy," Studio International, vol. CLXXVI (no. 906), December 1968, pp. 252-255.
D. Ashton, Richard Lindner, New York, 1969, p. 36 (illustrated, pl. 24).
H. Kramer, "Art: Fierce Energy of a Fanatasist," New York Times, 4 March 1977, p. C19.
J. Gruen, "Richard Lindner: 1901-1978," XXe Siecle Review: Homage to Richard Lindner, New York, 1980, p. 114 (illustrated).
J. Zilczer, exh. cat., Richard Lindner, Paintings and Watercolors 1948-1977, Hirshhorn Museum and Sculpture Garden, Washington, D.C., 1997, p. 24 (illustrated, fig. 20).
Leverkusen, Stadtische Museum; Hannover, Kestner-Gesellschaft, and Baden-Baden, Staatliche Kunsthalle, Richard Lindner, October 1968-January 1969, no. 31 (illustrated, p. 68).
Paris, Muse National d'Art Moderne, Centre Georges Pompidou; Rotterdam, Museum Boymans-van Beuningen; Dusseldorf, Stdtische Kunsthalle, and Zurich, Kunsthaus, Richard Lidner, January-September 1974, no. 11 (illustrated).

Lot Essay

Inextricably tied to his native heritage, Richard Lindner's art is a distinctly German one. Referring at once to abstract art, Bavarian toys and a world of fantasy and fetishism, Lindner creates "unexpected tension, erotic expectancy and an almost oppressive respectability of the visual situations and images" (Tillim, op. cit.). As Robert Rosenblum has stated, "[He dates] from the sophisticated primitivism of the twenties. His art, in fact, is aversion of the post-Cubist developments of that decade, especially as seen in Liger, the Neuesachlichkeit or the Surrealists (R. Rosenblum, Arts, 1954, quoted in Tillim, ibid.).

In a discussion of the present painting, Sidney Tillim has commented:

One of the most distinctive features of Lindner's paintings is the doll- or mannikin-like [sic] countenance and attitudes of the figures Theirs is a particularly diabolical kind of play mingling sex, cruelty and fetishism. As we shall see, dolls and toys have played an important role in Lindner's style, less as types than as symbols of unconscious and as a source for colour whose vulgarity is consonant with the nature of the decadence in which he is involved. There is an ambiguous element here also, a nostalgia and even sentimentality (Tillim, op. cit.)

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