Jörg Immendorff Marcels Erlösung (Marcel’s Salvation) 1988 Oil on canvas. 102 x 118 in. (259.1 x 299.7 cm). Signed and dated “Immendorff 88” lower right; titled “Marcels Erlösung” lower left.
Provenance Michael Werner Gallery, New York Literature A. Gingeras and B. Schwabsky, The Triumph of Painting, 2005, p. 78 (illustrated) Catalogue Essay I've always been interested in a new kind of imagemaking dealing with history that has more symbolic power than a mimetic depiction of actual events…once I got down in paint a certain reality that characterized not just Germany but our entire age, I had accomplished what I wanted to achieve in those pictures.P. Kort, “80sThen – Jörg Immendorff talks to Pamela Kort,” Artforum, March 2003, p. 223 Immendorff’s neo-Expressionist approach to painting matured in the late 1980s, after his Café Deutschland paintings propelled him to the international stage with their concerns for the divided German geographical and political landscape. Immendorff pursued dramatic topics that were both politically engaged and culturally demanding, achieving a heightened art historical and philosophical resonance.With his characteristic ability to handle paint, Immendorff’s oeuvre is complimented by his performative approach to constructing a scene. Inspired by avant-garde movements, a pupil of Joseph Beuys and an integral member of German Fluxus, Immendorff’s return to painting after his performative exploits marked a desire to use painting as a form of expression with the capacity to alter social norms. Immendorff once stated, “I am for a form of art that sees itself as one of the many means through which human society can be changed,” (Quoted in A. Danto, “Jörg Immendorff,” Artforum, April 2001, pg. 133). Read More
Jörg Immendorff Marcels Erlösung (Marcel’s Salvation) 1988 Oil on canvas. 102 x 118 in. (259.1 x 299.7 cm). Signed and dated “Immendorff 88” lower right; titled “Marcels Erlösung” lower left.
Provenance Michael Werner Gallery, New York Literature A. Gingeras and B. Schwabsky, The Triumph of Painting, 2005, p. 78 (illustrated) Catalogue Essay I've always been interested in a new kind of imagemaking dealing with history that has more symbolic power than a mimetic depiction of actual events…once I got down in paint a certain reality that characterized not just Germany but our entire age, I had accomplished what I wanted to achieve in those pictures.P. Kort, “80sThen – Jörg Immendorff talks to Pamela Kort,” Artforum, March 2003, p. 223 Immendorff’s neo-Expressionist approach to painting matured in the late 1980s, after his Café Deutschland paintings propelled him to the international stage with their concerns for the divided German geographical and political landscape. Immendorff pursued dramatic topics that were both politically engaged and culturally demanding, achieving a heightened art historical and philosophical resonance.With his characteristic ability to handle paint, Immendorff’s oeuvre is complimented by his performative approach to constructing a scene. Inspired by avant-garde movements, a pupil of Joseph Beuys and an integral member of German Fluxus, Immendorff’s return to painting after his performative exploits marked a desire to use painting as a form of expression with the capacity to alter social norms. Immendorff once stated, “I am for a form of art that sees itself as one of the many means through which human society can be changed,” (Quoted in A. Danto, “Jörg Immendorff,” Artforum, April 2001, pg. 133). Read More
Try LotSearch and its premium features for 7 days - without any costs!
Be notified automatically about new items in upcoming auctions.
Create an alert
.jpg "Source: Christie's")
.jpg "Source: Christie's")
