Lot 353
353
RAINER FETTING (B. 1949)
Artist's Resale Right ("Droit de Suite"). Artist's… Read more
RAINER FETTING (B. 1949)

Luciano-Schwan III (Luciano-Swan III)

Details
RAINER FETTING (B. 1949)
Luciano-Schwan III (Luciano-Swan III)
signed, titled and dated 'LUCIANO RAINER 82' (lower right); signed, titled and dated 'Fetting 1982 Luciano-Schwan III' (on the reverse)
oil on canvas
78 7/8 x 99in. (200.3 x 251.5cm.)
Painted in 1982
Provenance
Galerie Pierre Huber, Geneva.
Acquired from the above by the present owner.
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. These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 5%) on the Hammer price. VAT is also payable (at 20%) on the buyer’s Premium on a VAT inclusive basis. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie's immediately after the auction.

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Lot Essay

“In Desmond‘s case and with my earlier nudes, I tried somehow to connect to painting traditions - to the Brücke painters, or later on, for example, to the painting of abstract expressionism – but then I would introduce the figurative again. The nude has always been an important theme in painting throughout the centuries. For me the image-aesthetic has always interested me the most - I don‘t know if aesthetic is the right word. Clothes as covering - you portray that in fashion history. Do I want to portray the fashion of the day, or do I want to show the person and concentrate much more on his nakedness. A naked body has a high degree of abstraction and it is fascinating to translate this into painting.” (R. FETTING, quoted in Rainer Fetting – Paintings and Sculptures, exh. cat., Galerie Herold, Hamburg, 2014, p. 6)

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