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Hans Hartung (1904-1989)

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Hans Hartung (1904-1989)

T 1947-14

Hans Hartung (1904-1989) T 1947-14 signed and dated 'Hartung 7-47' (lower right) oil on canvas 38¼ x 51¼in. (97 x 130cm.) Painted in 1947
Galerie Gervis, Paris.
Acquired from the above by the present owner.
U. Apollonio, Hans Hartung, Milan 1966, no. 105 (illustrated in colour). P. Descargues, Hartung, Paris 1977, no. 111 (illustrated in colour, p. 150).
P. Daix, Hans Hartung, Paris 1991, no. 222 (illustrated in colour, p. 168).
Basel, Kunsthalle, Hans Hartung: Retrospective, February-March 1952, no. 46.
Brussels, Palais des Beaux-Arts, Hartung, April 1954.
Liège, Musée de l'Art Wallon, Artists de l'Ecole de Paris, 1958.
Antibes, Musée d'Antibes, Hartung: Retrospective, July-September 1959.
Zurich, Kunsthaus, Hans Hartung, February-March 1963, no. 30. This exhibition later travelled to Vienna, Museum des 20, April-May 1963; Düsseldorf, Kunstverein, July-August 1963; Brussels, Palais des Beaux-Arts, October-November 1963 and Amsterdam, Stedelijk van Abbemuseum, December 1963-January 1964, no. 158 (illustrated, unpaged).
Turin, La Galleria Civica d'Arte Moderna, Hartung: Retrospective, May-July 1966, no. 67.
Birmingham, Birmingham Museum and Art Gallery, Hans Hartung: A Retrospective Exhibition of Paintings and Drawings, March-April 1968, no. 65.
Berlin, Nationalgalerie NBK, Hans Hartung Retrospektive 1921-1973, January-March 1975, no. 60.
Düsseldorf, Städtischen Kunsthalle, Hans Hartung: Malerei, Zeichnung, Photographie, September-October 1981, no. 175 (illustrated, p. 81). This exhibition later travelled to Munich, Staatsgalerie Moderner Kunst München, December 1981-February 1982.
Paris, Galerie Daniel Gervis, Hans Hartung September 1985, (illustrated in colour, unpaged).
Ferrara, Galleria Civica d'Arte Moderna, Hans Hartung, May-September 1998, no. 50 (illustrated in colour, p. 97).
Special Notice

No VAT will be charged on the hammer price, but VAT at 17.5% will be added to the buyer's premium, which is invoiced on a VAT inclusive basis.

Lot Essay

To be included in the forthcoming Hans Hartung catalogue raisonné being prepared by the Fondation Hans Hartung and Eva Bergmann, Antibes.

In the late 1940s alongside painters like de Kooning, Pollock, Soulages and Wols, Hartung became one of the leading exponents of what the American critic Harold Rosenberg described as 'Action Painting.' Although his art emerged from a European tradition, a large part of Hartung's aesthetic, like much of the art of this era in fact, reflected an Eastern sensibility towards the act of creation. In particular, what was central to Hartung's art was the notion of line as a graphic record of the painter's psyche. Responding to the belief that a line is a force which borrows its energy from he who traces it, each mark and motion of Hartung's brush should, he believed, encapsulate and express the very nature of the force and action that went into making it. As an interaction between action and material and between man and canvas, painting in this way would not become just a record or expression of the artist's psychological experience in making it, it would in fact be that experience.

This predominantly graphic feature of his painting, which he was to pursue throughout most of the 1950s and '60s, first became pronounced in his paintings of the late 1940s. At this time Hartung was painting and experimenting with paintings of black lines on China paper - works that inevitably brought out a calligraphic nature to his line. T 1947-14 is a fusion of both solid, linear and spiralling form intuitively and energetically brushed onto the canvas in an animated and gestural way. The frenetic energy of these marks however is held in check by what appears to be a carefully considered and co-ordinated composition. Held into a bizarre and very spatial unity, each very active element in the painting both maintains its autonomy and corresponds with the very different visual characteristics of the others, combining on the canvas to create a seemingly fragile but deeply resonant balance.



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