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Imi Knoebel (b. 1940)
Artist's Resale Right ("Droit de Suite"). Artist's… Read more PROPERTY FROM A DISTINGUISHED TURKISH COLLECTION
Imi Knoebel (b. 1940)


Imi Knoebel (b. 1940)
(ii): signed and dated 'IMI 98 99' (on the reverse)
acrylic on aluminum, in two parts
overall: 260 x 312cm.
Executed in 1998-1999
Ikeda Collection, Nagoya.
Anon. sale, Beyaz Müzayede Istanbul, 29 May 2011, lot 156.
Acquired at the above sale by the present owner.
Nagoya, Akira Ikeda Gallery, Imi Knoebel - New Works, 1999 (illustrated).
Special Notice

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.
Lot is imported from outside the EU. For each lot the buyer’s premium is calculated as 40.45% of the hammer price up to a value of €200,000, plus 34.40% of the hammer price between €200,001 to €2,500,000, plus 26.535% of any amount in excess of €2,500,001

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Lot Essay

Spanning nearly three metres in height and width, Imi Knoebel’s Zion is a monumental symphony of chromatic form. Knoebel signed and dated the reverse of the work with a looping signature of overlapping primary colours. Zion is divided into two orange halves, each covered with a rhythmic arrangement of painted bars in rose, navy, powder blue, and red. Uniting these sections is a colourful border that bounds the two rectangles together. Transcending the division between sculpture and painting, Knoebel used strips of metal to explore an endless variety of formal contrasts and affinities. Zion not only presents a complex choreography of tones, but also extends colour’s materiality into the third dimension, further nuanced by an elaborate play of light and shadow that react to the rising and waning sun. Long preoccupied with the encounter of colour and its material support, Knoebel’s abstractions respond to the legacy Kazimir Malevich, whose practice concentrated on the representation of geometric form and what he called ‘pure feeling’ (K. Malevich, ‘Suprematism’, 1927 reprinted in R. Herbert (ed), Modern Artists on Art: Ten Unabridged Essays, Ann Arbor, 1965, p. 120). Although rooted in these formal considerations of Modernism, Knoebel’s Day-Glo palette is more playful and loose than his predecessors. Funnelled through an eclectic array of influences, he forged a vivid visual language distinctly his own, producing serenely graphic works that reverberate with emotion. As Knoebel said when asked about his paintings, ‘I look at it and can only take in the beauty, and I don’t want to see it in relation to anything else. Only what I see, simply because it has its own validity’ (Imi Knoebel, quoted in J. Stüttgen, ‘“I wouldn’t Say Anything Voluntary Anyway!” Interview with Imi Knoebel’, Imi Knoebel: Works 1966- 2014, exh. cat., Kunstmuseum Wolfsburg, Wolfsburg, p. 24). In Zion, Knoebel’s passionate, exacting approach results in a work of both coolness and warmth, suffused with the infinite potential of colour rendered as luminous form.

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