Zwei Augen (für Chillida) (Two Eyes)

细节

A. R. Penck (b. 1939)
Zwei Augen (für Chillida) (Two Eyes)
signed 'a.r Penck' (lower right); signed and stamped with the title 'a.r penck 2 AUGEN FÜR CHILLIDA' (on the reverse)
acrylic on canvas
78¾ x 118 ¹⁄₈in. (200 x 300cm.)
Executed in 1991

来源

Galerie Michael Werner, Cologne.
Acquired from the above by the present owner in 2003.

展览

Bilbao, Guggenheim Museum Bilbao, Homenaje a Chillida, 2006 (illustrated in colour, p. 237).

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.

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拍品专文

Painted in 1991, Zwei Augen (für Chillida) (Two Eyes) recalls the visual world of Eduardo Chillida in A.R. Penck's distinctive visual language. Formed from calligraphic constellations dark of lines, Chillida's boldly outlined eyes fix us with a penetrating gaze. Surrounding them are the pictorial signs and emblems- stick-men, crosses, dashes, spirals - that form Penck's visual vocabulary. Stripped of tonality, the graphically arresting motifs within Zwei Augen (für Chillida) (Two Eyes) lie exposed against a stark white background. They evince a symbolic nature that is suggestive of archetypical representations of the human figure, the elements, and of the experience of looking. Although legible as figures and signs, the marks also have an ambiguity that allows them to resonate with painterly independence. Describing his pictures as a mixture of 'abstract and the concrete' (A.R. Penck, https://www.tate.org.uk/art/artworks/penck-west-t03303/text-catalogue-en try [accessed 28th April 2013]), the component signs do not have individual meanings. As well as pertaining to universal experience, they are autonomous abstract forms based on ideas that derive from mathematics, cybernetics and theoretical physics. Like Chillida, Penck placed importance on the negative spaces within an artwork, and did not view space as emptiness. The strong distinction between the figures and signs in Penck's works (usually a dark colour) and ground (usually white) renders their relationship ambiguous - it is the effect that they have together that is so powerful.