Untitled

细节

René Daniels (B. 1950)
Untitled
signed with initials and dated 'RD 78' (lower right)
ink, pencil and black chalk on paper
73 x 62 cm.

来源

Galerie Helen van der Meij, Amsterdam, where acquired by the present owner in 1982.

出版

J. Bremer, René Daniëls: schilderijen, gouaches en tekeningen, Stedelijk van Abbemuseum, Eindhoven 1978, p. 7 (illustrated).
Marente Bloemheuvel, Jaap Guldemond (ed.), René Daniëls, The Most Contemporary Picture Show, Stedelijk van Abbemuseum,
Kunstmuseum Wolfsbrug, Kunsthalle Basel, Stedelijk Museum, 1998-1999,
p. 13.

展览

Eindhoven, Stedelijk van Abbemuseum, René Daniëls: schilderijen, gouaches en tekeningen, 30 September-5 November 1978, p. 7.
Eindhoven, Stedelijk van Abbemuseum, René Danëls: schilderijen en tekeningen 1976-1986, 22 March-27 April 1986.
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.

荣誉呈献

Annemijn van Grimbergen

查阅状况报告或联络我们查询更多拍品资料

avangrimbergen@christies.com 0031205755957

登入

浏览状况报告

拍品专文

The drawing Untitled (1978) features one of the signature motifs from Daniëls' early oeuvre: a dynamic spinning record that covers the paper from left to right. The record is loosely drawn as an active ellipse with rotating grooves. The form is interrupted by other ellipses, rectangles and lines that anchor the freely spinning record in the composition and counterbalance the downward force of the record. Several hatchings underlining the handwriting of the artist define the drawing. To that, the grid lines (upper left, lower right) are fencing off the space while simultaneously stressing the flatness of the image.
From the start of his career, Daniëls proves to be fond of innuendos and multiple meanings. The style of his early work may seem (or even be) formal, but it is striking that he references objects from daily life - usually means of communication - books, records and video camera. Applauded as the Dutch forerunner of De Nieuwe Schilderkunst (New Painting), he frequently uses the traditional art form to give an emphatic wink to new media. It is known that, in the early eighties, Daniëls had a personal passion for video taping punk concerts with his Super 8 Camera. Apart from references to his personal and daily life this drawing also awakes art historical associations; the cross hatching and the shape of the record are like a grid and oval in a cubist painting.