Lot Essay
Executed in 1972, Kopf links gedreht (Head turned left) is an early example from Marwan’s iconic Head series. The work captures a dynamic portrait of a head seemingly caught in motion, brimming with emotion as it swiftly moves towards the viewer's gaze. Saturated, colourful lines delicately accentuate the contours of the head, dancing against a warm backdrop of reds, pinks, and oranges, expertly guiding the viewer's gaze toward the composition's forefront. His choice of a muted, earthy watercolour palette, reminiscent of natural flesh tones, immediately establishes a deep human connection with the artwork, hinting at profound psychological depths. In a deliberate technique, he leaves specific portions of the painting surface blank, incorporating subtle watercolour washes to enhance the prominence of the linework and, thus, allowing the head to emerge. Amidst the palpable energy coursing through the composition, the head exudes a steadfast presence, encouraging contemplation of the intricate complexities of the human soul concealed beneath the paper surface.
Marwan employs expressive brushstrokes to explore the emotional depth of the human visage. Akin to other works in the artist's Head series, the present work transcends conventional portraiture boundaries, serving as a metaphysical gateway to universal facets of the human condition - loneliness, introspection, and existential contemplation. As an immigrant himself, moving from Damascus to Berlin in the late 1950s, Marwan drew inspiration from his own experiences as an outsider navigating life in a foreign European land. He explored the human form, specifically the human head, capturing the distinctive expressions of individuals on their quest for belonging and wholeness amidst unfamiliar terrain. Kopf links gedreht can be considered one of the very first experimentations with heads which throughout the 1980s, underwent a remarkable evolution, pushing the boundaries of his artistry. Blurring the line between abstraction and figuration further, he boldly embraced larger canvases, crafting compositions that were intimate, close-up, and subtly distorted. Usually adorned with thick layers of oil paint, Marwan began to explore the human head as a landscape upon which to excavate and express the complexities of the soul.
Born in Damascus in 1934, Marwan moved to Germany in 1957 where he began studying painting at the Hochschule der Bildende Künste in Berlin under the supervision of the German artist Hann Trier. Immersed in Western art movements of his era, Marwan found inspiration in German Informel, American Abstract Expressionism, and French Tachisme. This marked a significant departure from his earlier style, reminiscent of French Impressionism, highlighting his growing commitment to the boundless manipulation of colour and form. Within the post-war German art scene, Marwan forged close bonds with fellow Berlin-based artists like Georg Baselitz with whom he shared a studio and Eugen Schönebeck. These relationships played a pivotal role in his contribution to the emergence of German Neo-Expressionism. Marwan’s work is part of several important institutions worldwide such as the Guggenheim, Abu Dhabi; Mathaf: Arab Museum of Modern Art, Doha; Tate Modern, London; The British Museum, London and Barjeel Foundation, Sharjah.
Marwan employs expressive brushstrokes to explore the emotional depth of the human visage. Akin to other works in the artist's Head series, the present work transcends conventional portraiture boundaries, serving as a metaphysical gateway to universal facets of the human condition - loneliness, introspection, and existential contemplation. As an immigrant himself, moving from Damascus to Berlin in the late 1950s, Marwan drew inspiration from his own experiences as an outsider navigating life in a foreign European land. He explored the human form, specifically the human head, capturing the distinctive expressions of individuals on their quest for belonging and wholeness amidst unfamiliar terrain. Kopf links gedreht can be considered one of the very first experimentations with heads which throughout the 1980s, underwent a remarkable evolution, pushing the boundaries of his artistry. Blurring the line between abstraction and figuration further, he boldly embraced larger canvases, crafting compositions that were intimate, close-up, and subtly distorted. Usually adorned with thick layers of oil paint, Marwan began to explore the human head as a landscape upon which to excavate and express the complexities of the soul.
Born in Damascus in 1934, Marwan moved to Germany in 1957 where he began studying painting at the Hochschule der Bildende Künste in Berlin under the supervision of the German artist Hann Trier. Immersed in Western art movements of his era, Marwan found inspiration in German Informel, American Abstract Expressionism, and French Tachisme. This marked a significant departure from his earlier style, reminiscent of French Impressionism, highlighting his growing commitment to the boundless manipulation of colour and form. Within the post-war German art scene, Marwan forged close bonds with fellow Berlin-based artists like Georg Baselitz with whom he shared a studio and Eugen Schönebeck. These relationships played a pivotal role in his contribution to the emergence of German Neo-Expressionism. Marwan’s work is part of several important institutions worldwide such as the Guggenheim, Abu Dhabi; Mathaf: Arab Museum of Modern Art, Doha; Tate Modern, London; The British Museum, London and Barjeel Foundation, Sharjah.