Beschreibung:

ANTONI TÀPIES (1923-2012)Marró desplegat
1974
mixed media on canvas laid on board
195 by 170 cm.
76 3/4 by 66 15/16 in.
This work was executed in 1974.
FootnotesProvenance
Galerie Maeght, Paris
Aimé Maeght Collection, Paris/St-Paul de Vence
Acquired directly from the above by the previous owner in 1976
Gift from the above to the present owner
Exhibited
Barcelona, Galeria Maeght, Tàpies, obra recent, 1975, no. 42
Zurich, Galerie Maeght, Tàpies Peintures Gouaches, 1975, n.p., no. 2, illustrated in black and white
Saint-Paul de Vence, Fondation Maeght, Tàpies, 1976, p. 34, no. 76, illustrated in colour
Barcelona, Fundació Joan Miró Antoni Tàpies (Obra 1956-1976), 1976, p. 102, no. 74, illustrated in colour
Madrid, Museo Español de Arte Contemporáneo, Antoni Tàpies Exposición Retrospectiva, 1980, p. 80, illustrated in colour
Amsterdam, Stedelijk Museum, Antoni Tàpies 1980, p. 25, no. 44, illustrated in colour, p. 44, no. 44, illustrated in black and white
Literature
José Marín-Medina, Tàpies/Meditaciones/1976, Madrid 1976, p. 127, illustrated in colour
Anna Augustì, Tàpies The Complete Works Volume 3: 1969-1975, Barcelona 1992, p. 421, no. 2824, illustrated in colour
Completely fresh to the market and widely exhibited, Marron desplegat, from 1974 embodies Antoni Tàpies' investigations into the use of raw materials to find "profound wisdom in the simplest of objects" (the artist in: The Unesco Courier, 'Interview with Antoni Tàpies', June 1994, p.5). Executed in the early 1970s, the work comes from a seminal period in the artist's oeuvre. A clear example of Tàpies' matiérisme (matter art) paintings, which he began in 1955, the present work carries thick impasto, created by sand, paper and other everyday earthly materials – features often seen in his mixed media works. His thick textures, plain tones and use of unconventional tools have become characteristic to the artist and are recognisable globally. The textually rich approach, focuses on exploring the transformative qualities of matter. Like in Marron desplegat, this was often seen in the artist's large-scale works, compellingly evoking solidity and depth through the beautifully layered finish.
Starting as a Surrealist artist and strongly influenced by Max Ernst Joan Miro and Paul Klee Tàpies quickly pivoted towards abstraction and can be credited with introducing abstract art into Spain. He saw his abstract work as a "mechanism", or in other words, "a system that makes it possible to change the spectator's way of looking and to bring him or her closer to a state of contemplation of reality at its deepest level", allowing the artist "to achieve the inner illumination ...[and] perceive the depth of reality" (the artist in: The Unesco Courier, 'Interview with Antoni Tàpies', June 1994, p. 5). As an artist whose personal style carries strong associations to Art Informel, using his medium in non-conforming traditional ways, Tàpies allowed the viewer to understand the power of 'matter' in all its different forms, as seen by the multiple layers peeking through in Marron desplegat.
At the time of the present work's execution, Tàpies held a very strong position in the international art scene. Having already had various exhibitions globally in the previous decade, and an important retrospective presented at the Musée National d'Art Moderne in Paris the year before, Tàpies was embarking upon a seminal time in his career. The confidence in his technique and medium is evidently mirrored in his strong and large gestural marks on the work. Unseen by the public in nearly half a century, and variously exhibited all around Europe, including at the Stedelijk Museum in Amsterdam, Antoni Tàpies Marron desplegat is a true testament to the artist's genius. The artist's hand and process of creation is visible in the intended pencil marks peeking through the white paint, and the brown paint drips lyrically falling on the picture plane.
Marron desplegat strongly welcomes contradictions with its geometrical earth-toned shapes, alongside deconstructed components and organic forms. These materialise and become alive on the picture plane as abstract and representational concepts interlace, highlighting the artist's balanced relationship between impulsive creation and contextual stimuli. As Tàpies desired to be both the creator and viewer of his art, the symbolic nature of his work is especially ambiguous since he worked in an almost automatic way. The juxtaposition in the present work hints at Tàpies' politically charged upbringing surrounded by Catalan nationalist conflicts and the Spanish Civil war. His art stemmed from creating beauty where there was destruction. By altering connotations linked to dust and rubble – matters which he was surrounded by during his young years and post-war Europe – Tàpies offers visions of hope and positivity.
Marron desplegat, embodies a heavy history, and a powerful, sublime mythos of transformation. The natural ephemera of this striking work, openly shows the viewer all its layers of destruction and creation, suffering and reality, and carries with it its exquisite imperfections. Tàpies' standing in the Post-War art canon has been cemented by prices for his works achieving up to seven figures in recent years. His exploration of media and his clever technique to actively engage the viewer, has earned him a reputation as one of the most internationally recognisable abstract artists today.Read MoreAdditional informationAuction informationBuyers' ObligationsALL BIDDERS MUST AGREE THAT THEY HAVE READ AND UNDERSTOOD BONHAMS' CONDITIONS OF SALE AND AGREE TO BE BOUND BY THEM, AND AGREE TO PAY THE BUYER'S PREMIUM AND ANY OTHER CHARGES MENTIONED IN THE NOTICE TO BIDDERS. THIS AFFECTS THE BIDDERS LEGAL RIGHTS.If you have any complaints or questions about the Conditions of Sale, please contact your nearest customer services team.Buyers' Premium and ChargesFor all Sales categories, buyer's premium excluding Cars, Motorbikes, Wine, Whisky and Coin & Medal sales, will be as follows: Buyer's Premium Rates
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