Pedrini Lots 110-117
Ad Reinhardt (1913-1967)
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These lots have been imported from outside the EU … Read more PROPERTY FROM THE COLLECTION OF THE LATE ENRICO PEDRINI, GENOA
Ad Reinhardt (1913-1967)


Ad Reinhardt (1913-1967)
signed and inscribed 'BETTY PARSONS Ad REINHARDT 1949' (on the reverse); signed and dated 'REINHARDT 1948' (on that backing board)
oil on canvas
50 x 20 3/8in. (127 x 51.5cm.)
Painted in 1948
Estate of Ad Reinhardt, New York.
Marlborough-Gerson Gallery, New York.
Marlborough Galleria d'Art, Rome.
Galleria Morone, Milan.
Enrico Pedrini Collection, Genoa (acquired from the above in 1974).
Thence by descent to the present owner.
C. Cerretelli, Mitografie, Ravenna 1987.
Istituto Materie e Forme Inconsapevoli u.s.l. XVI (ed.), Yuppara: Dalla interdisciplinarità all'interattività, Genova 1989.
E. Pedrini, La freccia evolutiva dell'Irreversibilità, Napoli 1992.

Milano, Galleria Morone, Ad Reinhardt 1937-1957, 1974, p. 20.
Special notice

These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 5%) on the Hammer price. VAT is also payable (at 20%) on the buyer’s Premium on a VAT inclusive basis. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie's immediately after the auction.
Sale room notice
Please note that the first line of provenance is Estate of Ad Reinhardt, New York and not Betty Parsons as stated in the printed catalogue. This work is not included in the publication Dark Grey, 1948.

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Rachel Boddington
Rachel Boddington

Lot Essay

‘The one standard in art is oneness and fineness, rightness and purity, abstractness and evanescence. The one thing to say about art is its breathlessness, lifelessness, deathlessness, contentlessness, formlessness, spacelessness and timelessness. This is always the end of art’ (A. Reinhardt, quoted in Ad Reinhardt: Paintings, exh. cat., The Jewish Museum, New York, 1966, p. 10)

‘Perhaps pure painting is a direct experience and an honest communication’ (A. Reinhardt, quoted in M. Tuchman, New York School The First Generation, Greenwich 1970, p. 131).

Produced during the period in which Ad Reinhardt established his signature pared-down rectilinear compositions, Untitled, 1948, is a pioneering example of what the artist described as ‘colour-brick-brushwork’. With its complex optical interplay of subtly-differentiated monochromatic hues, it marks an important breakthrough in his style. The brightly coloured geometric forms of Reinhardt’s previous output, heavily indebted to Piet Mondrian’s grids, were replaced by interlocking blocks of black and white, offering delicate chromatic modulations on almost monotonal surfaces. Executed with trails of dry, loaded brushwork, oscillating between feathery strokes and light washes of paint, the present work exemplifies the artist’s supreme mastery of colour and form. The geometric symmetry and almost imperceptible tonal variation allows for the full expression of a single colour’s range. Absolving the rectilinear form from its capacity to create perspectival depth, Reinhardt renders it a neutral optical device devoid of image or subject. In this respect, Untitled formally advances upon the precedent set by Kazimir Malevich, whose revolutionary canvases share the monochromatic rectilinear configuration of Reinhardt’s compositions. Like Malevich, whose paintings called for the reduction of painting to its very essence, Reinhardt’s composition seeks a new artistic ‘ground zero’. Indeed, by 1955, the artist worked almost exclusively in black monochromes which he continued to his death.

Reinhardt aspired to painting in which no illusion, texture or evidence of the artist’s hand could detract from the beauty and constructive purity of the picture itself. In his pursuit of autonomous art, Reinhardt was deeply moved by Zen philosophy and the meditative nature of much Asian art. He was struck by ‘its timelessness, its monotony, its inaction, its detachment, its expressionlessness, its clarity, its quietness, its dignity, its negativity’ (A. Reinhardt, quoted in M. Hatch, ‘Learning about Asian Art from Ad Reinhardt’, in The Brooklyn Rail, 16 January 2014). Untitled demonstrates Reinhardt’s desire for painting to convey ‘detachment, disinterestedness, thoughtfulness, [and] transcendence’ which would provide the critical bridge between his generation and the emergence of Minimalist and Conceptual art of the 1960s.

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