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A PRIVATE COLLECTION, THE NETHERLANDS René Daniëls has firmly established himself as one of the leading exponents of Dutch contemporary art. Almost directly after he appeared on the art scene in the late seventies, his work was exhibited by noted musea and galleries. He took part in international exhibitions such as Westkunst (1981), Documenta 7 (1982), Zeitgeist (1982), Bilderstreit (1989), Documenta 9, (1992), Der Zerbrochene Spiegel (1993) and had (retrospective) solo shows throughout Europa and in the United States. His work can be found in the collections of major musea such as the Stedelijk Museum, Amsterdam and Tate Modern, London. Initially, Daniëls was branded 'the Dutch representative of Neo-expressionism'. German ('Neue Wilden') and Italian ('Transavanguardia') colleagues created expressionist yet recognisable compositions which indeed resembled Daniëls' figurative and speedy style in many aspects. But at a second look, Daniëls actually follows the Franco-Belgian tradition of Duchamp, Picabia, Magritte and Broodthaers, juggling with image, language and meaning. Daniëls oeuvre, in his own words, is located in the "no man's land between literature, art and life itself". This is illustrated by the quirky-poetical manner in which he uses texts for composing and titling his drawings and paintings. Ambiguity is key: tongue-in-cheek word play and endless visual invention fight for attention in his practice which he himself coined as 'Image Poetry'. Referring to art history and to the mechanisms of the contemporary art world on many accounts, he also includes countless innuendos to his art and life. An important element in his approach is the dialogue with his own oeuvre. Existing visual ideas are unravelled, recycled and, in a new context, again brought into play. In this way seemingly fixed interpretations are made questionable. In Daniëls work image and meaning are shifting infinitely. Daniëls active career ended prematurely when, in 1987, he was struck by a cerebral hemorrhage. All works not in private hands or museum collections were brought into the René Daniëls Foundation. More often than not, Daniëls' drawings are works of art in their own right which, in smaller or more extended series, interact with his painted oeuvre. This collection of works on paper which is in private hands since the early eighties, covers many key motives in his oeuvre and, is very rare to come to the market.

René Daniels (B. 1950)

La muse vénale

细节

René Daniels (B. 1950)
La muse vénale
signed with initials and dated 'RD 79' (lower right)
watercolour and black chalk on paper
35.5 x 50 cm.

来源

Galerie Helen van der Meij, Amsterdam, where acquired by the present owner in 1983.

出版

K.Schampers, René Daniëls/Piet Dieleman: Tekeningen, Stedelijk museum bulletin, Amsterdam, 1983, p. 45-48.

展览

Amsterdam, Stedelijk Museum, René Daniëls Piet Dieleman: Tekeningen, 4 March-24 April 1983.
Eindhoven, Stedelijk van Abbemuseum, René Daniëls, The Most Contemporary Picture Show, 25 April-30 August 1998. Traveled to: Wolfsburg, Kunstmuseum; Basel, Kunsthalle; Amsterdam, Stedelijk Museum.

注意事项

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. Christie’s charges a premium to the buyer on the Hammer Price of each lot sold at the following rates: 29.75% of the Hammer Price of each lot up to and including €20,000, plus 23.8% of the Hammer Price between €20,001 and €800.000, plus 14.28% of any amount in excess of €800.000. Buyer’s premium is calculated on the basis of each lot individually.

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拍品专文

In 1979, Daniëls produced a small series of paintings, watercolours and drawings depicting floating swans. This was also the period in which he started applying extra layers of meaning to his work by including titles. In the same period Daniëls developed a compositorical interest in what Blotkamp called 'hidden images'. Blotkamp: ''Daniëls knows how to make a good passage between things (...) and he has feeling for the expressive effect of empty spaces (...)." (Kunstschrift, No. 6, 2009). A fitting example to Blotkamps testimony is La Muse Vénale (Swans), a translucent work in watercolour charcoal. In between the waves we see two black swans and an empty outline, suggesting a white counterpart. La Muse Vénale (Swans) fits in a series of work in which Daniëls both ironically and poetically comments upon the habitués of the art world. The artist, the critic, the gallery owner and the collector - all are being mocked in a mild manner. The mysterious title of the watercolour relates to a poem from Baudelaire's masterwork Les Fleurs du Mal. Baudelaire compares the writer to the prostitute and finds the two very similar, sharing their intimacy with the public in exchange for money. Daniëls questions the integrity of the commercially successful 'New Painting'. Is it artistically 'right' to produce romantic swan pictures at the end of the 20th Century?

The Venal Muse
Muse of my heart, you who love palaces,
When January frees his north winds, will you have,
During the black ennui of snowy evenings,
An ember to warm your two feet blue with cold?

Will you bring the warmth back to your mottled shoulders,
With the nocturnal beams that pass through the shutters?
Knowing that your purse is as dry as your palate;
Will you harvest the gold of the blue, vaulted sky?

To earn your daily bread you are obliged
To swing the censer like an altar boy,
And to sing Te Deums in which you don't believe,

Or, hungry mountebank, to put up for sale your charm,
Your laughter wet with tears which people do not see,
To make the vulgar herd shake with laughter.

-Translated from the French of Charles Pierre Baudelaire (by William Aggeler, 1954).