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Auction archive: Lot number 27

Robert Mangold

Estimate
US$500,000 - US$700,000
Price realised:
n. a.
Auction archive: Lot number 27

Robert Mangold

Estimate
US$500,000 - US$700,000
Price realised:
n. a.
Beschreibung:

Robert Mangold Red/Gray Zone Painting I 1996 acrylic, colored pencil on canvas, in 2 parts 90 x 132 in. (228.6 x 335.3 cm) Each signed, titled and dated "R. Mangold Red/Gray Zone Painting I 1996" and annotated "Right/Left" panel on the reverse.
Provenance Annemarie Verna Galerie, Zurich Private Collection, Germany Exhibited Zurich, Galerie Annemarie Verna, Robert Mangold 1996 Wiesbaden, Museum Wiesbaden, Robert Mangold Paintings and Drawings 1984–1997, October 18, 1998−February 21, 1999, then traveled to St. Gallen, Kunstmuseum (June 16−August 22, 1999) Literature Robert Mangold Paintings and Drawings 1984–1997, exh. cat., Museum Wiesbaden, Wiesbaden, 1999, p. 108 cr. 974 (illustrated) R. Schiff, Robert Mangold London, Phaidon Press, 2000, pp. 148 - 149 (illustrated), p. 318 (illustrated) Catalogue Essay “In the zone paintings for instance, there would be a certain kind of elliptical structure that would start and then it would be interrupted and then it would be picked up on the other side of the interruption.” Robert Mangold 2009 From his seminal exhibition at the Guggenheim museum in 1971 to his more recent showings at the Venice Biennale and elsewhere, Robert Mangold captivates us with his works on canvas. His dichromatic diptychs of pencil and paint, amid mere simplicity, manage to leap into a realm all their own, creating marvelous movement in his carefully wrought restraint. After thirty years of creating, Mangold brought forth Red/Gray Zone Painting I, 1996, a perfect encapsulation of his overarching project that also vibrates with a singular energy, fusing his exploration of shape, line, and color into a single work of profound artistry. Mangold’s diptych is composed of two separate yet incongruent canvases, shaped by his hand to demonstrate their dissimilarity. On the right, Mangold’s rectangular canvas is a fabulous example of the dichotomy of uniformity: monochromatic in gray yet textured in the minutiae of Mangold’s brushwork. Mangold’s evolution as a technician occurred mostly in the 1960s, where he progressed from spray paint, to rolling, to brushwork—here we find his hand at work in an inimitable fashion. The left side of Mangold’s diptych could not be more different. Following the style of his circular canvases that fist appeared in his early career, Mangold places a truncated quarter circle to contrast with his rigid right side. The soft curve of the upper portion of this burning red section is not only an antithesis to the right side in shape, but also in its figural content: Mangold has scrawled an almost geometrically exact line of pencil throughout his curved canvas, allowing the looping journey to interact with the corners and curve of his canvas, fluid in its relationship to the solid shape that contains it. This flatness of color yet dichromatic schema is the essence of Mangold’s work, both abstract and figural: "A typical work by Mangold reads as flat, yet is also a field that contains figuration; simple enough to be viewed as a totality, its shapes are nevertheless eccentric and strangely asymmetrical. Each work defeats expectations of regularity based on the existing conventions of abstract… each of his paintings acquired a compelling uniqueness. It is art to which you never become habituated.”(Richard Shiff, A Compelling Uniqueness, Robert Mangold Paintings, 1990-2002, exh. cat., Aspen Art Museum, 2003, p. 25). In Red/Gray Zone Painting I, 1996, we find Mangold’s variety of influences making their mark upon his artistic output. In a conversation with John Yau in 2009, he attests to his influences composing a major hand in his early work: “After some early paintings in the 60s, I was really committed to the idea of working on the surface. I never painted around the edges of the painting. I didn’t want the sense of it being anymore of an object than it had to be. I like the panels to be as thin as possible. Newman and Rothko were kind of my goal posts in terms of my playing field. Rothko’s surface and Newman’s architecture inspired me in certain ways.”(J. Yau, “In Conversation: Robert Mangold with John Yau”, The Brooklyn Rail, March 6, 2009) Yet we also find both Barnett Newman and Mark Rothko at work in the present lot as well. While

Auction archive: Lot number 27
Auction:
Datum:
13 Nov 2014
Auction house:
Phillips
New York
Beschreibung:

Robert Mangold Red/Gray Zone Painting I 1996 acrylic, colored pencil on canvas, in 2 parts 90 x 132 in. (228.6 x 335.3 cm) Each signed, titled and dated "R. Mangold Red/Gray Zone Painting I 1996" and annotated "Right/Left" panel on the reverse.
Provenance Annemarie Verna Galerie, Zurich Private Collection, Germany Exhibited Zurich, Galerie Annemarie Verna, Robert Mangold 1996 Wiesbaden, Museum Wiesbaden, Robert Mangold Paintings and Drawings 1984–1997, October 18, 1998−February 21, 1999, then traveled to St. Gallen, Kunstmuseum (June 16−August 22, 1999) Literature Robert Mangold Paintings and Drawings 1984–1997, exh. cat., Museum Wiesbaden, Wiesbaden, 1999, p. 108 cr. 974 (illustrated) R. Schiff, Robert Mangold London, Phaidon Press, 2000, pp. 148 - 149 (illustrated), p. 318 (illustrated) Catalogue Essay “In the zone paintings for instance, there would be a certain kind of elliptical structure that would start and then it would be interrupted and then it would be picked up on the other side of the interruption.” Robert Mangold 2009 From his seminal exhibition at the Guggenheim museum in 1971 to his more recent showings at the Venice Biennale and elsewhere, Robert Mangold captivates us with his works on canvas. His dichromatic diptychs of pencil and paint, amid mere simplicity, manage to leap into a realm all their own, creating marvelous movement in his carefully wrought restraint. After thirty years of creating, Mangold brought forth Red/Gray Zone Painting I, 1996, a perfect encapsulation of his overarching project that also vibrates with a singular energy, fusing his exploration of shape, line, and color into a single work of profound artistry. Mangold’s diptych is composed of two separate yet incongruent canvases, shaped by his hand to demonstrate their dissimilarity. On the right, Mangold’s rectangular canvas is a fabulous example of the dichotomy of uniformity: monochromatic in gray yet textured in the minutiae of Mangold’s brushwork. Mangold’s evolution as a technician occurred mostly in the 1960s, where he progressed from spray paint, to rolling, to brushwork—here we find his hand at work in an inimitable fashion. The left side of Mangold’s diptych could not be more different. Following the style of his circular canvases that fist appeared in his early career, Mangold places a truncated quarter circle to contrast with his rigid right side. The soft curve of the upper portion of this burning red section is not only an antithesis to the right side in shape, but also in its figural content: Mangold has scrawled an almost geometrically exact line of pencil throughout his curved canvas, allowing the looping journey to interact with the corners and curve of his canvas, fluid in its relationship to the solid shape that contains it. This flatness of color yet dichromatic schema is the essence of Mangold’s work, both abstract and figural: "A typical work by Mangold reads as flat, yet is also a field that contains figuration; simple enough to be viewed as a totality, its shapes are nevertheless eccentric and strangely asymmetrical. Each work defeats expectations of regularity based on the existing conventions of abstract… each of his paintings acquired a compelling uniqueness. It is art to which you never become habituated.”(Richard Shiff, A Compelling Uniqueness, Robert Mangold Paintings, 1990-2002, exh. cat., Aspen Art Museum, 2003, p. 25). In Red/Gray Zone Painting I, 1996, we find Mangold’s variety of influences making their mark upon his artistic output. In a conversation with John Yau in 2009, he attests to his influences composing a major hand in his early work: “After some early paintings in the 60s, I was really committed to the idea of working on the surface. I never painted around the edges of the painting. I didn’t want the sense of it being anymore of an object than it had to be. I like the panels to be as thin as possible. Newman and Rothko were kind of my goal posts in terms of my playing field. Rothko’s surface and Newman’s architecture inspired me in certain ways.”(J. Yau, “In Conversation: Robert Mangold with John Yau”, The Brooklyn Rail, March 6, 2009) Yet we also find both Barnett Newman and Mark Rothko at work in the present lot as well. While

Auction archive: Lot number 27
Auction:
Datum:
13 Nov 2014
Auction house:
Phillips
New York
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