Lot Essay
In an effort to flee from the Nazi regime, Richard Lindner left his native Nuremburg in 1933 for Paris. With the outbreak of the war, Lindner once again fled from Hitler's army in March of 1941 and headed for New York City, where he would remain the rest of his life. Though he had been living in the city for many years, it was not until 1958 that Lindner's painting style underwent a dramatic shift, truly reflecting the metropolis in which he lived. Ever more influenced by the post-Cubist style and subject matter of Lger, The Walk explores the spectacle of the modern city and the concept of existential alienation. This image of a monumental matron isolated in an urban landscape expresses Lindner's newfound interest in the street life of Manhattan. In discussing the present work, Judith Zilczer has stated:
With her stylish attire, accoutrements, and high-heeled shoes, the woman clearly belongs to the modern world. Yet Lindner embroidered current fashion with touches of the surreal. The intricately patterned cape draped over the woman's shoulders reveals her breasts, while the tight leather straps across her fitted bodice mimic the laces of a corset. In a similar vein, Lindner embellished the nondescript urban surroundings with colorful abstract designs. The red arrow at the upper right may evoke urban street signs, but the checkerboard pattern and bright blue triangle at the left serve as a clever allusion to contemporary hard-edge abstraction. (J. Zilczer, "Circus of the Absurd: The Paintings of Richard Lindner, in exh. cat., op. cit., p. 27)
With her stylish attire, accoutrements, and high-heeled shoes, the woman clearly belongs to the modern world. Yet Lindner embroidered current fashion with touches of the surreal. The intricately patterned cape draped over the woman's shoulders reveals her breasts, while the tight leather straps across her fitted bodice mimic the laces of a corset. In a similar vein, Lindner embellished the nondescript urban surroundings with colorful abstract designs. The red arrow at the upper right may evoke urban street signs, but the checkerboard pattern and bright blue triangle at the left serve as a clever allusion to contemporary hard-edge abstraction. (J. Zilczer, "Circus of the Absurd: The Paintings of Richard Lindner, in exh. cat., op. cit., p. 27)