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NICOLAS DE STAËL | Agrigente
估價
2,000,000 - 3,000,000 EUR
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招標截止
描述
- Staël, Nicolas de--Lecuire, Pierre
- Agrigente
- signed, titled and dated 1954 on the reverse
- oil on canvas
- 54 x 73 cm; 21 1/4 x 28 3/4 in.
- Executed in 1954.
來源
Collection Jacques Dubourg, Paris
Collection Stephen Hahn, New York
Galerie Alex Maguy, Paris
Private Collection, Boston
Sotheby's, London, Contemporary Art, Part 1, 2 July 1998, lot 130
Galerie Daniel Malingue, Paris
Acquired from the above by the present owner in 1999.
Collection Stephen Hahn, New York
Galerie Alex Maguy, Paris
Private Collection, Boston
Sotheby's, London, Contemporary Art, Part 1, 2 July 1998, lot 130
Galerie Daniel Malingue, Paris
Acquired from the above by the present owner in 1999.
出版
Jacques Dubourg et Françoise de Staël, Nicolas de Staël, Catalogue Raisonné des Peintures, Paris, 1968, p. 304, no. 717, illustrated
Françoise de Staël, Nicolas de Staël, Catalogue Raisonné de l'Oeuvre Peint, Paris, 1997, p. 501, no. 770, illustrated
Françoise de Staël, Nicolas de Staël, Catalogue Raisonné de l'Oeuvre Peint, Paris, 1997, p. 501, no. 770, illustrated
Condition
Merci de vous adresser au département d'Art Contemporain si vous souhaitez recevoir un rapport d'état professionnel de cette oeuvre. (guillaume.mallecot@sothebys.com) Please refer to the Contemporary Art Department for a professional Condition report.(guillaume.mallecot@sothebys.com)
"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
Created on his return from an initiatory journey that took him from Northern Italy to Sicily, and more precisely Agrigento, the series entitled Agrigente that Nicolas de Staël painted between 1953 and 1954 is undoubtedly the most outstanding of his short yet dazzling career, which tragically ended on March 16, 1955.
Within this series of twenty paintings -each one more extraordinary than the other, several of which now kept in some of the most prestigious museums in the world like the L.A. MoCA or the Kunsthaus Zurich-, the work we present here is both climactic and programmatic. With its surprising monofocal perspective, knife-spread impastos revealing Staël's avant-garde gesture, extraordinary minimal composition, powerful expressive charge and contrasted palette of colors, Agrigente perfectly synthesizes the legacy of this XXth century genius. Although the series caused scandal at the time, sparking as much fascination as it did controversy, it sold out on the opening night of the show when the mythical New York gallery Paul Rosenberg exhibited it for the first time.
Next to his contemporaries Pollock, de Kooning, Dubuffet and Riopelle, Staël tremendously contributed to redefining abstraction and figuration. Through his use of sometimes opaque, sometimes opalescent lavish impastos that stretch the motif to the limits of readability while preserving the experience of infinity, Staël wants the viewer to experience, for the first time the latter makes us see, to quote the great poet René Char, the sea in red, the sky in yellow and the sand in purple.
Within this series of twenty paintings -each one more extraordinary than the other, several of which now kept in some of the most prestigious museums in the world like the L.A. MoCA or the Kunsthaus Zurich-, the work we present here is both climactic and programmatic. With its surprising monofocal perspective, knife-spread impastos revealing Staël's avant-garde gesture, extraordinary minimal composition, powerful expressive charge and contrasted palette of colors, Agrigente perfectly synthesizes the legacy of this XXth century genius. Although the series caused scandal at the time, sparking as much fascination as it did controversy, it sold out on the opening night of the show when the mythical New York gallery Paul Rosenberg exhibited it for the first time.
Next to his contemporaries Pollock, de Kooning, Dubuffet and Riopelle, Staël tremendously contributed to redefining abstraction and figuration. Through his use of sometimes opaque, sometimes opalescent lavish impastos that stretch the motif to the limits of readability while preserving the experience of infinity, Staël wants the viewer to experience, for the first time the latter makes us see, to quote the great poet René Char, the sea in red, the sky in yellow and the sand in purple.