Kazuo Shiraga

Galerie Stadler, Paris
Collection Morris J. Pinto, New York
Collection particulière, Suisse

This work is in very good condition. The canvas is not relined. Apart from 2 old tiny paint losses (2mm) at 52 cm from the top edge and 12 cm from the left and some surface dirt throughout, the surface is intact. Colours: the colours are deeper in the original, the red of the C-shape at the left hand side is more purple. There is more contrast in the reality.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

signed and dated ; signed, titled and dated on the back ; oil on canvas. Executed in 1962.

Kazuo Shiraga exécute une peinture avec ses pieds, 1963. © D.R.

La période d'après-guerre au Japon est marquée par l'émergence du mouvement artistique Gutai. Ce nom aux origines sino-japonaises associe deux termes: l'outil et le corps. Kazuo Shiraga est l'un des grands représentants de ce groupement mêlant action et peinture; il peint ses toiles en utilisant ses pieds comme des pinceaux. Ainsi, dans un geste de destruction créatrice, l'artiste piétine et compose, détruit et créé. Shigara explique sa démarche, quand il peint avec les pieds il ne regarde pas la toile. Donc la spontanéité physique et l'émotion du sentiment peuvent s'exprimer avec franchise, en dehors de la conscience. De même, le poids donne une certaine force à la peinture, et l'émotion primitive se manifeste plus naturellement.