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A. R. Penck (1939-2017)
A. R. Penck (1939-2017)
A. R. Penck (1939-2017)
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Artist's Resale Right ("Droit de Suite"). Artist's… Read more PROPERTY OF A DISTINGUISHED ASIAN COLLECTOR
A. R. Penck (1939-2017)

Sehnsucht (Longing)

Details
A. R. Penck (1939-2017)
Sehnsucht (Longing)
signed 'ar. penck' (lower right)
acrylic on canvas
78 ¾ x 63in. (200 x 160cm.)
Painted in 2001
Provenance
Galerie Michael Schultz, Berlin.
Leeahn Gallery, Daegu (acquired in 2008).
Acquired from the above by the present owner.
Special notice

Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.
These lots have been imported from outside the EU or, if the UK has withdrawn from the EU without an agreed transition deal, from outside of the UK for sale and placed under the Temporary Admission regime. Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyer’s premium but will not be shown separately on our invoice.

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Victoria Gramm
Victoria Gramm

Lot Essay

Painted in 2001, A. R. Penck’s Sehnsucht (Longing) thrums with a vibrant, arresting energy. Two bright blue figures stretch across the life-sized canvas, their limbs swaying in dance. Inked in black are the artist’s iconic stick-figures: arms raised upwards and bodies crowned with triangular visages. Amongst these forms float diamonds, crosses, bars and boxes, a rhythmic swelling of black and blue. Rendered with graphic, energetic strokes, the German neo-Expressionist conjures a lively scene against a stark white backdrop.

Born Ralf Winkler in 1939, Penck studied and worked in his home city of Dresden, until moving to East Berlin in 1963. It was there that he adopted Penck, one of several ‘paint names’, and, alongside George Baselitz, Jörg Immendorff and Markus Lüpertz, became a key player in Germany’s new figuration movement of the 1970s. Taking inspiration from cave paintings and hieroglyphs, Penck proposed a new idiom for communication combining text, image and symbol which he named Standart. The rudimentary stickman he first developed in the early 1960s would become its central motif. Relying on simple outlines and geometric patterning, Penck’s Standart compositions explore a universal communication: as the artist himself said, ‘Every Standart can be imitated and reproduced and can thus become the property of every individual. What we have here is a true democratisation of art’ (A. R. Penck quoted in O. Basciano, ‘AR Penck Obituary’, The Guardian, 5 May 2017). Such a philosophy suffuses Sehnsucht, and the vivacious figures of the painting embody Penck’s Standart ethos: independent, wild, uninhibited, free.

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