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Lot Essay
Compare with: C. Blotkamp, Carel Visser, Utrecht/Antwerpen 1989, p. 102, no. 82 (ill.)
Carel Visser is a very wayward artist, whose work refuses to be classified in terms of a style or tendency. He made his name in the 1950's with welded iron sculptures: starting with subtle animal figures, later moving on to robust compositions using geometrical forms. The present lot refers to a comparable sculpture the artist executed in 1957.
In 1954 Carel Visser reached a new phase in his work. He started to use large geometric forms, symmetry, and repetition. "The problem is concentrated in the centre, the core of a sculpture." (Blotkamp, opcit, p. 71)
During the period 1954-1962 Visser made many sculptures based on these principles, but he was also making a few works which deviated from this way of working. "He produced the impressive Auschwitz, which was originally entitled Nacht und Nebel. The horizontal and vertical lines recall the railroad tracks and the chimneys of the notorious concentration camp. There is no sign of symmetry or other fixed principle of ordering." (Blotkamp, op.cit, p. 103)
Carel Visser is a very wayward artist, whose work refuses to be classified in terms of a style or tendency. He made his name in the 1950's with welded iron sculptures: starting with subtle animal figures, later moving on to robust compositions using geometrical forms. The present lot refers to a comparable sculpture the artist executed in 1957.
In 1954 Carel Visser reached a new phase in his work. He started to use large geometric forms, symmetry, and repetition. "The problem is concentrated in the centre, the core of a sculpture." (Blotkamp, opcit, p. 71)
During the period 1954-1962 Visser made many sculptures based on these principles, but he was also making a few works which deviated from this way of working. "He produced the impressive Auschwitz, which was originally entitled Nacht und Nebel. The horizontal and vertical lines recall the railroad tracks and the chimneys of the notorious concentration camp. There is no sign of symmetry or other fixed principle of ordering." (Blotkamp, op.cit, p. 103)