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拍品專文
‘I like the idea of scratching and biting into the canvas’ (Cy Twombly)
Previously owned by the esteemed collector Wolfgang Hahn, the present work by Cy Twombly is eloquent and electrifying, replete with pictograms, smears of pigment, and beguiling, bold reds. A riot of frenetic gestures, scrawls, and daubs, the composition evinces a clear sense of the artist’s hand. The saturated tonalities that Twombly employs are exceptionally strong for a work on paper, and the volcanic reds, in particular, recall canvases from the Flemish Baroque, a period that the artist greatly admired. An inscription along the top edge reads ‘Venus and Mars’, a nod to the Roman gods of love and war. Created circa 1962, it is animated by the spontaneous, exhilarating motion of Twombly’s work of the time, exuding a sense of immediacy that evokes splendour, eroticism and energy within an arcadian world.
Twombly first visited Italy in 1952 with his close friend, the artist, Robert Rauschenberg. Rome, in particular, beguiled him with its rich palimpsest of artistic traditions and overwhelming pull of Classical history. Five years later, he returned to settle permanently in Rome, and his output reflected the city’s poetic atmosphere, aesthetic charge and mythical power. In addition to works devoted to Achilles, Leda, and Psyche, among others, Venus and Mars also feature in several paintings and drawings that Twombly produced during this period, which explore ideas of carnal desire, seduction, and great love.
Wolfgang Hahn was a great supporter of contemporary art, and dedicated himself to the European and American avant-garde. Today, much of his collection is now held at the Museum moderner Kunst Stiftung Ludwig Wien in Vienna, following its acquisition by the Republic of Austria in 1978. Trained as an art historian before turning to conservation, Hahn appreciated art’s historical context and lineage, which is perhaps what drew him to Twombly’s work.
Captivating the eye with its hints of form, this abstracted composition hovers towards legibility but never allows its various daubs and marks to unify into anything overtly figurative. Instead, the pictorial field suggests an atemporal, unknowable inner logic whose visual rhythm evokes rather than depicts the passionate relationship between Venus and Mars. While he draws upon centuries of tradition, this sensory directness gives Twombly’s work a lyrical power that is uniquely his own. As the artist himself said of his process, ‘It’s more like I’m having an experience than making a picture’ (C. Twombly quoted in R. Shiff, ‘Charm’ in Cy Twombly: Cycles and Seasons, exh. cat. Tate Modern, London 2008, p. 14).
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Matter in Motion: Works from an Important Private Swiss Collection
Across our 20th / 21st Century London Evening Sale, Post-War and Contemporary Art Day Sale, Impressionist and Modern Art Day and Works on Paper Sale and Post-War and Contemporary Art Online sale in London this season, Christie’s is delighted to present Matter in Motion: Works from an Important Private Swiss Collection. Led by Cy Twombly’s Untitled (Rome) (1961)—an explosion of painterly joy created in his most celebrated period—this diverse array of works offers a remarkable snapshot of the post-war avant-garde in Europe.
These paintings, drawings and sculptures have been unseen in public since the collection was assembled in the 1970s and 1980s. They were acquired from important galleries of the time such as Galerie Bonnier in Geneva and Galerie Stadler in Paris, and—in the case of the works by Twombly, Hans Hartung, Konrad Klapheck and Ernst Wilhelm Nay—from the esteemed Nouveau Réalisme and Fluxus collector Wolfgang Hahn, chief conservator at the Wallraf-Richartz-Museum, Cologne. Much of Hahn’s holdings were acquired by the Museum moderner Kunst Stiftung Ludwig Wien (mumok) in Vienna in 1978, becoming a central part of the museum’s permanent collection.
The vitality of Art Informel is on full display. From Twombly’s gestural brushwork to the tactile reliefs of Antoni Tàpies, paint becomes sculptural or even archaeological matter, leaping the boundaries between art and life. A superb Concetto spaziale (1960) by Lucio Fontana takes this materiality to its transcendent climax, with the artist punching holes through the canvas to reach a new dimension.
Like Twombly, Sam Francis was an American in Europe: his Red, Yellow, Blue (1957) exemplifies his fusion of Abstract Expressionist ideas with the lyrical light and colour of French painting. Hans Hartung, the German-French painter represented here by an elegant composition from 1952, forged his own language of Tachisme in the same medium, characterised by swift, calligraphic brushstrokes.
Other key names in the collection include the Nouveaux Réalistes Arman, César and Jean Tinguely. These artists sought to bridge the art-life divide with a radical approach to everyday objects, creating something of a European counterpart to Pop Art.
The German artist Konrad Klapheck explored related ideas of mechanisation and commerce. His visionary, dreamlike painting Die Stufen der Ewigkeit (The Steps of Eternity) (1961) presents a surreal scene with a Pop-art sheen, as indebted to Duchamp’s objets trouvés as it is to Klapheck’s deadpan ‘machine’ paintings.
Across a wide range of media, from works on paper and small-scale sculptures to rich, textural paintings, Matter in Motion: Works from an Important Private Swiss Collection forms a colourful survey of the ways in which artists brought material to life in post-war Europe, keeping pace with an era of dynamic societal, cultural and aesthetic change. They are complemented, finally, by two works from Alice Bailly: a pioneering Swiss artist of an earlier avant-garde era, involved in Fauvism, Dada and Cubism and known for her pictures embroidered in wool.
Previously owned by the esteemed collector Wolfgang Hahn, the present work by Cy Twombly is eloquent and electrifying, replete with pictograms, smears of pigment, and beguiling, bold reds. A riot of frenetic gestures, scrawls, and daubs, the composition evinces a clear sense of the artist’s hand. The saturated tonalities that Twombly employs are exceptionally strong for a work on paper, and the volcanic reds, in particular, recall canvases from the Flemish Baroque, a period that the artist greatly admired. An inscription along the top edge reads ‘Venus and Mars’, a nod to the Roman gods of love and war. Created circa 1962, it is animated by the spontaneous, exhilarating motion of Twombly’s work of the time, exuding a sense of immediacy that evokes splendour, eroticism and energy within an arcadian world.
Twombly first visited Italy in 1952 with his close friend, the artist, Robert Rauschenberg. Rome, in particular, beguiled him with its rich palimpsest of artistic traditions and overwhelming pull of Classical history. Five years later, he returned to settle permanently in Rome, and his output reflected the city’s poetic atmosphere, aesthetic charge and mythical power. In addition to works devoted to Achilles, Leda, and Psyche, among others, Venus and Mars also feature in several paintings and drawings that Twombly produced during this period, which explore ideas of carnal desire, seduction, and great love.
Wolfgang Hahn was a great supporter of contemporary art, and dedicated himself to the European and American avant-garde. Today, much of his collection is now held at the Museum moderner Kunst Stiftung Ludwig Wien in Vienna, following its acquisition by the Republic of Austria in 1978. Trained as an art historian before turning to conservation, Hahn appreciated art’s historical context and lineage, which is perhaps what drew him to Twombly’s work.
Captivating the eye with its hints of form, this abstracted composition hovers towards legibility but never allows its various daubs and marks to unify into anything overtly figurative. Instead, the pictorial field suggests an atemporal, unknowable inner logic whose visual rhythm evokes rather than depicts the passionate relationship between Venus and Mars. While he draws upon centuries of tradition, this sensory directness gives Twombly’s work a lyrical power that is uniquely his own. As the artist himself said of his process, ‘It’s more like I’m having an experience than making a picture’ (C. Twombly quoted in R. Shiff, ‘Charm’ in Cy Twombly: Cycles and Seasons, exh. cat. Tate Modern, London 2008, p. 14).
***
Matter in Motion: Works from an Important Private Swiss Collection
Across our 20th / 21st Century London Evening Sale, Post-War and Contemporary Art Day Sale, Impressionist and Modern Art Day and Works on Paper Sale and Post-War and Contemporary Art Online sale in London this season, Christie’s is delighted to present Matter in Motion: Works from an Important Private Swiss Collection. Led by Cy Twombly’s Untitled (Rome) (1961)—an explosion of painterly joy created in his most celebrated period—this diverse array of works offers a remarkable snapshot of the post-war avant-garde in Europe.
These paintings, drawings and sculptures have been unseen in public since the collection was assembled in the 1970s and 1980s. They were acquired from important galleries of the time such as Galerie Bonnier in Geneva and Galerie Stadler in Paris, and—in the case of the works by Twombly, Hans Hartung, Konrad Klapheck and Ernst Wilhelm Nay—from the esteemed Nouveau Réalisme and Fluxus collector Wolfgang Hahn, chief conservator at the Wallraf-Richartz-Museum, Cologne. Much of Hahn’s holdings were acquired by the Museum moderner Kunst Stiftung Ludwig Wien (mumok) in Vienna in 1978, becoming a central part of the museum’s permanent collection.
The vitality of Art Informel is on full display. From Twombly’s gestural brushwork to the tactile reliefs of Antoni Tàpies, paint becomes sculptural or even archaeological matter, leaping the boundaries between art and life. A superb Concetto spaziale (1960) by Lucio Fontana takes this materiality to its transcendent climax, with the artist punching holes through the canvas to reach a new dimension.
Like Twombly, Sam Francis was an American in Europe: his Red, Yellow, Blue (1957) exemplifies his fusion of Abstract Expressionist ideas with the lyrical light and colour of French painting. Hans Hartung, the German-French painter represented here by an elegant composition from 1952, forged his own language of Tachisme in the same medium, characterised by swift, calligraphic brushstrokes.
Other key names in the collection include the Nouveaux Réalistes Arman, César and Jean Tinguely. These artists sought to bridge the art-life divide with a radical approach to everyday objects, creating something of a European counterpart to Pop Art.
The German artist Konrad Klapheck explored related ideas of mechanisation and commerce. His visionary, dreamlike painting Die Stufen der Ewigkeit (The Steps of Eternity) (1961) presents a surreal scene with a Pop-art sheen, as indebted to Duchamp’s objets trouvés as it is to Klapheck’s deadpan ‘machine’ paintings.
Across a wide range of media, from works on paper and small-scale sculptures to rich, textural paintings, Matter in Motion: Works from an Important Private Swiss Collection forms a colourful survey of the ways in which artists brought material to life in post-war Europe, keeping pace with an era of dynamic societal, cultural and aesthetic change. They are complemented, finally, by two works from Alice Bailly: a pioneering Swiss artist of an earlier avant-garde era, involved in Fauvism, Dada and Cubism and known for her pictures embroidered in wool.