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SIMON HANTAÏ | Tabula
估價
250,000 - 350,000 EUR
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招標截止
描述
- Simon Hantaï
- Tabula
- signed with the artist's initials and dated 75
- acrylic on canvas
- 200,5 x 199 cm; 78 15/16 x 78 5/16 in.
- Executed in 1975.
來源
Galerie Jean Fournier, Paris
Acquired from the above by the present owner in 1982
Acquired from the above by the present owner in 1982
展覽
Paris, Musée National d'Art Moderne, Simon Hantaï, 23 May - 13 September 1976
Bordeaux, CAPC Musée d'Art Contemporain de Bordeaux, Simon Hantaï, 15 May - 29 August 1981; catalogue, p. 55
Saint-Etienne, Musée d'Art Moderne, Collections-Collectionneurs, 1986; catalogue, p. 15, illustrated
Le Cateau-Cambrésis, Musée Matisse, Collection Daniel Bosser, Extraits, 12 March - 12 June 2005; catalogue, n.p., illustrated in colour on the cover
Bordeaux, CAPC Musée d'Art Contemporain de Bordeaux, Simon Hantaï, 15 May - 29 August 1981; catalogue, p. 55
Saint-Etienne, Musée d'Art Moderne, Collections-Collectionneurs, 1986; catalogue, p. 15, illustrated
Le Cateau-Cambrésis, Musée Matisse, Collection Daniel Bosser, Extraits, 12 March - 12 June 2005; catalogue, n.p., illustrated in colour on the cover
出版
AD - Architectural Digest, Les plus belles maisons du monde, Collection privée, November 2000, p.89, illustrated in colour
Mohntop Unlimited, Jakob + Macfarlane, 2002, p.111, no.1, illustrated in colour
Mohntop Unlimited, Jakob + Macfarlane, 2002, p.111, no.1, illustrated in colour
Condition
Please refer to the Contemporary Art department for a professional condition report.
"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."
"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."
拍品資料及來源
CAPTION PHOTO EXPO :
Tabula dans l'exposition Simon Hantaï. 1960 - 1976 au CAPC, Bordeaux, 1981 © ADAGP, Paris 2018
Simon Hantaï, Jean Fournier et Jean Louis Froment devant l'oeuvre Tabula dans l'exposition Simon Hantaï. 1960 - 1976 au CAPC, Bordeaux, 1981 © ADAGP, Paris 2018
At the end of the 1950s, Simon Hantaï threw himself into the exploration of a new method. For him, as for Pollock, whose work he deeply admired and that he discovered in 1951 during the American artist’s first exhibition in Paris – the creator must give way to the work. It was at this precise moment that he discovered the method that would help him to develop even further a depersonalized style: that of the folding technique. As he explained himself, “folding proceeds from nothing. One simply has to put oneself in the state of those who have not seen anything; to put oneself in the canvas. One can fill the folded canvas without knowing where the edges are. One know longer knows where it stops. One can even (…) paint with one’s eyes closed.” From the 1960s Simon Hantaï never stopped exploring all the possibilities of this new technique. The Tabulas series, the longest series in Hantaï’s career, masterfully completes the previous cycles of Mariales, Laissées, Catamurons, Panses, Meuns, Etudes and the Blancs. This sequence, of which we have here one of the most appealing examples, will fully occupy him for almost a decade, from the end of 1973 to 1982. It included two important phases: the years 1974-1976, during which he deployed a tightly framed grid and the years 1980-82 with larger motifs, where the artist chose to circumscribe the number of forms by increasing their size.
As Dominique Fourcade explains in the exhibition catalogue of the artist’s works at the Centre Pompidou in 2013, the Tabulas can be analyzed as studies of rhythms. A rhythm imposed by the size of the squares, their colour and the space between each of them. With its network of motifs in cobalt tones, Tabula, 1975, vibrates more than any other canvas from the series. In following with his research on the proliferation of forms that Hantaï had been developing for the past few years, the coloured elements respond to and are heightened by the whiteness of the background. Upon closer inspection, each of these elements can also be seen as a work in itself, a work within the work, autonomous. Both expressionist in style, through the absence of geometry in each element and also minimal, forming a grid which recalls the work of many of his contemporaries, this remarkable canvas thus brings together the various currents that everything seemed to oppose.
This work will be included in the forthcoming Catalogue Raisonné of the artist currently being prepared by the Archives Simon Hantaï.
Tabula dans l'exposition Simon Hantaï. 1960 - 1976 au CAPC, Bordeaux, 1981 © ADAGP, Paris 2018
Simon Hantaï, Jean Fournier et Jean Louis Froment devant l'oeuvre Tabula dans l'exposition Simon Hantaï. 1960 - 1976 au CAPC, Bordeaux, 1981 © ADAGP, Paris 2018
At the end of the 1950s, Simon Hantaï threw himself into the exploration of a new method. For him, as for Pollock, whose work he deeply admired and that he discovered in 1951 during the American artist’s first exhibition in Paris – the creator must give way to the work. It was at this precise moment that he discovered the method that would help him to develop even further a depersonalized style: that of the folding technique. As he explained himself, “folding proceeds from nothing. One simply has to put oneself in the state of those who have not seen anything; to put oneself in the canvas. One can fill the folded canvas without knowing where the edges are. One know longer knows where it stops. One can even (…) paint with one’s eyes closed.” From the 1960s Simon Hantaï never stopped exploring all the possibilities of this new technique. The Tabulas series, the longest series in Hantaï’s career, masterfully completes the previous cycles of Mariales, Laissées, Catamurons, Panses, Meuns, Etudes and the Blancs. This sequence, of which we have here one of the most appealing examples, will fully occupy him for almost a decade, from the end of 1973 to 1982. It included two important phases: the years 1974-1976, during which he deployed a tightly framed grid and the years 1980-82 with larger motifs, where the artist chose to circumscribe the number of forms by increasing their size.
As Dominique Fourcade explains in the exhibition catalogue of the artist’s works at the Centre Pompidou in 2013, the Tabulas can be analyzed as studies of rhythms. A rhythm imposed by the size of the squares, their colour and the space between each of them. With its network of motifs in cobalt tones, Tabula, 1975, vibrates more than any other canvas from the series. In following with his research on the proliferation of forms that Hantaï had been developing for the past few years, the coloured elements respond to and are heightened by the whiteness of the background. Upon closer inspection, each of these elements can also be seen as a work in itself, a work within the work, autonomous. Both expressionist in style, through the absence of geometry in each element and also minimal, forming a grid which recalls the work of many of his contemporaries, this remarkable canvas thus brings together the various currents that everything seemed to oppose.
This work will be included in the forthcoming Catalogue Raisonné of the artist currently being prepared by the Archives Simon Hantaï.