Adolf Wölfli (1864-1930)
Adolf Wölfli (1864-1930)
Adolf Wölfli (1864-1930)
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PROPERTY FROM THE NAMITS COLLECTION
Adolf Wölfli (1864-1930)

Untitled, 1918

Details
Adolf Wölfli (1864-1930)
Untitled, 1918
stamped Psychiatrische Universitätsklinik WALDAU on verso; handwritten numbers 39 next to stamp and A9303 lower right edge verso; dated 1918 upper right recto
colored pencil and graphite on paper
19 5/8 x 27 3/8 in.
Provenance
Jennifer Pinto Safian, New York
Acquired from above in 2006
Exhibited
Baltimore, American Visionary Art Museum, All Things Round: Galaxies, Eyeballs and Karma, 7 October 2011 - 2 September 2012.

Brought to you by

Cara Zimmerman
Cara Zimmerman

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Lot Essay

A troubled young man, Adolf Wölfli was institutionalized at the Waldau Clinic in Bern, Switzerland in 1895, where he stayed for the remainder of his life. Shortly after his admission, Wölfli began to draw; his magnum opus, a multi-volume, 25,000-page epic illustrated text chronicled his imagined life as a knight, an emperor and a saint. While many of Wölfli’s drawings were created in book format, he also made single-sheet drawings he called portraits. Whether in notebooks or on loose-leaf paper, his works are dense, colored-filled images supported by text and, at times, musical compositions. Dr. Walter Morgenthaler, a psychiatrist at the clinic, took interest in Wölfli’s output and in 1921 published the seminal text Ein Geisteskranker als Künstler (Madness and Art), a full-length study of Wölfli’s life and art. This was one of the first major publications in the field that would later become Outsider Art.

Several decades later, in the 1940s, artist Jean Dubuffet advanced the conversation around asylum art beyond the study of psychosis and into the realm of formal analysis. He and André Breton became active advocates for Wölfli’s work, even visiting the Waldau Clinic in the mid-1950s. In a 1965 exhibition catalogue for the eleventh Exposition international du surréalisme, Breton wrote that Wölfli’s “vivid creations…as an ensemble represent one of the three or four most important oeuvres of the twentieth century.” (Daniel Baumann, “Calculation of Interest: The Response to Adolf Wölfli’s work, 1921-2002,” in Elka Spoerri and Daniel Baumann, The Art of Adolf Wölfli (New York, 2003), p.33).

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