Judit Reigl

Private Collection, France (acquired directly from the artist)
Acquired from the above by the current owner

Paris, Galerie de France
Nantes, Musée des Beaux Arts, Judith Reigl, 9 October 2010 - 2 January 2011

Maklary Kalman, Judit Reigl, Volume I, Budapest, 2010, p. 114, illustrated in colour

The colours are brighter in the original work, especially the orange and ochre, which has more yellow undertones than in the catalogue illustration. The work is executed on its original canvas and is not relined. The stretcher is slightly distorted. There are some wears on the corners and edges of the work, as well as some cracks scattered on the thicker impastos. Two small tears to the canvas, which have been carefully restored, are visible under very close inspection on the lower left quadrant, one on the white background, and the other a bit higher, at the center of the composition on the black paint. There is one very small paint loss on the upper right quadrant, on the white paint, visible only under very close inspection. Under Ultra Violet light inspection the paint loss mentioned above fluoresces.
"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."

Judit Reigl met André Breton four years after her arrival in Paris. Captivated by what he saw in her work, the Surrealist theoretician and leading figure of the Parisian art scene of the time, immediately asked her to show her works at the Etoile Scellée, the famous gallery for which he was in charge of the exhibition programme. In his foreword to Le Surréalisme et la Peinture, he celebrates “the beauty of the figures”, and “the pure rhythm” of Reigl’s works which he infinitely admired.

Painted in 1958 and part of the Centre de dominance series, this canvas evokes a sense of instantaneity, rapidity and spontaneity inherent in Reigl’s painterly approach. The central part of the painting incorporates a circular movement, structures the space and creates an incredible sense of the infinite for the spectator. In her technique, the artist plays with textures and forms with the same verve, alternating rough facture with refinement. With just a few brushstrokes, Reigl creates a passionate violence combined with softness, so that the work vibrates with a rare energy. In testimony to the fervour and force with which she paints, the artist declared to Jean Paul Ameline in 1990: “I paint and draw with all my body, each square centimetre, until the very tip of my fingers.”