9 2 1/2 x 68 (280.7 x 172.7 cm)
Magnus Plessen. Group. 2004
马格努斯·普莱森。组2004-
2.
马克斯·利伯曼的《莱森德》 高清作品[98%]
图片文件尺寸 : 4109 x 2287px
马克斯·利伯曼的《莱森德》-Max Liebermann
Lesende--Max Liebermann (德国, 1847-1935)
3.
雅各布·莱森的《约瑟夫与孩子耶稣》 高清作品[97%]
图片文件尺寸 : 4242 x 5859px
雅各布·莱森的《约瑟夫与孩子耶稣》-Jacob Leyssens
Jozef met het kind Jezus--Jacob Leyssens
4.
托马斯·劳伦斯爵士的《塞缪尔·莱森》 高清作品[97%]
图片文件尺寸 : 5215 x 6295px
托马斯·劳伦斯爵士的《塞缪尔·莱森》-Sir Thomas Lawrence
Samuel Lysons--Sir Thomas Lawrence (英国, 1769 - 1830)
5.
詹姆斯·爱德华·凯利《阿尔弗雷德·普莱森顿少将》 高清作品[96%]
图片文件尺寸 : 2012 x 3390px
詹姆斯·爱德华·凯利《阿尔弗雷德·普莱森顿少将》-James Edward Kelly
Major General Alfred Pleasonton--James Edward Kelly (美国, 1855 – 1933)
6.
“卢多夫·巴克莱森的追随者扬·范·布罗克惠岑（1649-1707）的肖像 高清作品[94%]
图片文件尺寸 : 3328 x 4000px
“卢多夫·巴克莱森的追随者扬·范·布罗克惠岑（1649-1707）的肖像-Follower of Ludolf Backhuysen
A Portrait of Jan Van Broeckhuizen (16491707)--Follower of Ludolf Backhuysen (荷兰, 1630-1708)
7.
莱森德，《Künstlers夫人》（玛莎·利伯曼），1890年。-马克斯·利伯曼 高清作品[93%]
材质 : Pencil drawing
图片文件尺寸 : 6278 x 5140 px
Max Liebermann-Lesende - die Frau des Künstlers (Martha Liebermann), 1890.
马克斯·利伯曼-莱森德，《Künstlers夫人》（玛莎·利伯曼），1890年。
8.
《新时尚》，第22期：1901年6月2日：Omslag会见了费利克斯·福内里的莱森德夫人 高清作品[92%]
图片文件尺寸 : 4779 x 6142px
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La Nouvelle Mode, No. 22: 2 Juin 1901: omslag met lezende dame--Félix Fournery (法国, 1865-1938)
9.
“帕尔蒂纳王子查尔斯·路易斯和他的导师沃拉德·冯·普莱森穿着历史服装”，作者：扬·利文斯 高清作品[91%]
图片文件尺寸 : 3611 x 3873px
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Prince Charles Louis of the Palatinate with his Tutor Wolrad von Plessen in Historical Dress--Jan Lievens (荷兰, 1607-1674)
10.
卡尔·古斯塔夫·皮洛（Carl Gustaf Pilo）的《Fussingøand Selsø》的莫根斯·谢尔·冯·普莱森（Mogens Scheel von Plessen） 高清作品[89%]
图片文件尺寸 : 4171 x 5365px
卡尔·古斯塔夫·皮洛（Carl Gustaf Pilo）的《Fussingøand Selsø》的莫根斯·谢尔·冯·普莱森（Mogens Scheel von Plessen）-Carl Gustaf Pilo
Mogens Scheel von Plessen of Fussingø and Selsø--Carl Gustaf Pilo (瑞典, 1711 - 1793)
下载卡尔·古斯塔夫·皮洛（Carl Gustaf Pilo）的《Fussingøand Selsø》的莫根斯·谢尔·冯·普莱森（Mogens Scheel von Plessen）大图
11.
德里克·乔治·蒙塔古·加德纳 1796年8月20日，莱森号，20门火炮，与40门火炮护卫舰复仇号作战 高清作品[88%]
图片文件尺寸 : 4132 x 4581px
Derek George Montague Gardner:
Raison, twenty guns, in action with the forty gun frigate Vengeance, 20th August 1796
signed \'Derek.G.M/GARDNER\' (lower right)
watercolour
36 x 51.3cm (14 3/16 x 20 3/16in).
德里克·乔治·蒙塔古·加德纳 1796年8月20日，莱森号，20门火炮，与40门火炮护卫舰复仇号作战
12.
马格努斯·普莱森，当代艺术I 高清作品[61%]
图片文件像素：5844 x 5142 px
马格努斯·普莱森，当代艺术I-
Magnus Plessen * - Zeitgenössische Kunst I-
(born in Hamburg 1967)
Untitled, 2009, signed, dated, titled on the overlap Plessen 2009, oil on canvas, 117 x 89 cm, on stretcher
Provenance:
Mai 36 Galerie, Zurich (gallery label)
Private collection, 德国y - acquired from the above
Literature:
Uta Grosenick and Daniel Marzona (Eds.): Magnus Plessen. Die Augen in der Hand. Malerei 1999-2009. 100 Bilder, Cologne 2009, cat.-no. 93, with full page color illustration on p. 47
From a background as a photographer and filmmaker, Magnus Plessen has turned himself into one of the most well-known painters of our time. His unique composition technique and reduced visual language as well as the broad stroke of his palette knife lets his artworks play along the boundary of the abstract and the figurative. The characteristics of Plessen’s paintings lie in their systematic development of an image, constructed by adding and removing sections of paint to reveal passages of compact form and negative space. The artist uses the idea of rotation as a means of reordering structure and dimensionality within the painting.
“It’s literally moving away from you. The relationship of the viewer to the painting and the attempt to achieve some kind of loosening is something that physically takes place in my mind but is also an action in the process of making.” (ibid.)
The artwork being auctioned here resembles this situation. Uncoordinated objects and colour fields seem to float through the canvas. As a viewer you recognize some familiar objects such as the hand or the cable and are able use them as fixed points to create your own first-hand impression of the artwork.
“I don’t want to link painting back to the reality that we know. I would like to link it to an unknown place. So, what could that place look like? It’s light, it’s colour, it’s different forces that hold the objects which are readily recognisable in my paintings together. Hold them in place, in position, give them a place. I normally tend to bring the same objects or body parts to the canvas, e.g. hands, feet or fruit. I think it’s important to bring these familiar things that I deploy onto the empty canvas. I think you need something familiar in an unfamiliar place. It just makes it so much easier to move and find your way through that space.”
(Magnus Plessen on the exhibition: Riding the Image, White Cube, Mason’s Yard, 14.9.-10.11.2012)
From a background as a photographer and filmmaker, Magnus Plessen has turned himself into one of the most well-known painters of our time. His unique composition technique and reduced visual language as well as the broad stroke of his palette knife lets his artworks play along the boundary of the abstract and the figurative. The characteristics of Plessen’s paintings lie in their systematic development of an image, constructed by adding and removing sections of paint to reveal passages of compact form and negative space. The artist uses the idea of rotation as a means of reordering structure and dimensionality within the painting.
“It’s literally moving away from you. The relationship of the viewer to the painting and the attempt to achieve some kind of loosening is something that physically takes place in my mind but is also an action in the process of making.” (ibid.)
The artwork being auctioned here resembles this situation. Uncoordinated objects and colour fields seem to float through the canvas. As a viewer you recognize some familiar objects such as the hand or the cable and are able use them as fixed points to create your own first-hand impression of the artwork.
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