图片文件尺寸 : 4005 x 4142px
Yves KLEIN:VITESSE PURE ET STABILITE MONOCHROME, 1958
Carton d\'invitation à la Galerie Iris Clert pour le vernissage de l\'exposition \"Vitesse pure et stabilité monochrome\", le 17 novembre 1958
Le recto est peint d\'un monochrome bleu, le verso des détails de l\'exposition
Diamètre: 9 cm
伊夫·克莱因 纯速度和单色稳定，1958年
6 4 7/8 x 55 1/8 (195.1 x 140 cm)
Yves Klein. Blue Monochrome. 1961
伊夫·克莱因。蓝色单色。1961-
11 3/4 × 11 3/4 × 1 1/8 (29.8 × 29.8 × 2.9 cm)
Hélio Oiticica. Red Monochrome. 1959
赫里奥·奥蒂西卡。红色单色。1959年-
材质 : Silkscreen in colors
图片文件尺寸 : 4859 x 3695 px
Yves Klein-Monochrome und Feuer, 1961.
Yves小型-《单色与火》，196年。
材质 :
图片文件尺寸 : 4859 x 3695 px
Yves Klein-Monochrome bleu (IKB 262), Circa 1959.
Yves小型-蓝色单色（IKB 262），约1959年。
材质 : Acrylic
图片文件尺寸 : 4859 x 3695 px
Bernard Aubertin-Monochrome Rouge 87. Trous de clous, 1987.
伯纳德·奥伯丁-红色单色87。钉孔，1987年。
34 1/4 x 35 3/8 x 1 7/8 (87 x 89.8 x 4.8 cm) including frame
Agam (Yaacov Agam). Color and Monochrome - Line and Structure. 1962-87
阿甘（Yaacov Agam）。颜色和单色线条和结构。196287-
图片文件像素：4600 x 3500 px
伊夫·克莱因-
-
(Nizza 1928-1962 Paris)
Monochrome und Feuer (Triptychon), 1961, Siebdrucke in Farbe und 1 goldfarben beschichteter Karton mit Blattgoldauflage, jeweils 31,9-32,1 x 23,4 cm, herausgegeben vom Kaiser Wilhelm Museum/Krefeld anläßlich der Ausstellung 'Monochrome und Feuer' im Museum Haus Lange/Krefeld 14. Januar - 26. Februar 1961, zusammen mit dem Ausstellungskatalog (enthält 3 lose Doppelblätter Text und Abbildungen), (4), (RAC)
图片文件像素：4600 x 3500 px
伊夫·克莱恩，当代艺术II-
-
(Nizza 1928–1962 Paris)
Monochrome und Feuer (Triptychon), 1961, 2 Farbsiebdrucke und 1 Goldkarton mit aufgelegtem Goldblatt, je 31,9-32,1 x 23,4 cm, herausgegeben vom Kaiser Wilhelm Museum/Krefeld zur Ausstellung „Monochrome und Feuer“ im Museum Haus Lange/Krefeld 14. Januar - 26. Februar 1961, zusammen mit dem Ausstellungskatalog (mit 3 losen Doppelseiten Text und Abbildungen)
材质 : Blue disc and electronic engine. Functioning
图片文件尺寸 : 4859 x 3695 px
Yves Klein-Vitesse pure et stabilité monochrome. Gemeinschaftsarbeit mit Jean Tinguely (1925 Freiburg - 1991 Bern), 1958.
Yves小型-Vitesse纯色和稳定单色。与让·廷格利（1925年弗莱堡，1991年伯尔尼）合作，1958年。
下载Vitesse纯色和稳定单色。与让·廷格利（1925年弗莱堡，1991年伯尔尼）合作，1958年。-Yves小型大图
图片文件像素：4956 x 4842 px
安杰洛·萨韦利-
Angelo Savelli * - Zeitgenössische Kunst I-
(Pizzo Calabro 1911–1995 Dello/Brescia)
Untitled, 1973, signed and dated on the reverse, acrylic on canvas on tulle, 163 x 136 cm, framed
This work is registered in the Archivio Angelo Savelli curated by Luigi Sansone and is accompanied by a photo certificate of authenticity
Provenance:
Kodama Collection, Osaka (label on the reverse)
European Private Collection
Angelo Savelli. The master of white
Angelo Savelli. The master of white, Marca, Catanzaro, until 30 March 2013
Calabrese by birth, Roman by training and 美国 by maturity, Savelli continues to be an isolated case within post-war art.
Savelli’s season of transition from figuration to abstraction is, under the banner of light, a sort of dynamic of the sign that weaves nervous filaments in an entirely emotional space.
Then, at the turn of the 1950s, came the choice to work exclusively in white. This was nothing to do with the Monochrome Malerei and the Manzonian achromia of the same years. Savelli thinks differently, of a purified idea of structure, of the point at which the formal mechanism manifests itself to the essential degree, before any attribution.
Savelli works primarily on the spatial dimension. He gives life to real places that breathe a formal mysticism that becomes a transcendental mood: one could say he works through paradox, giving an appropriate and unrelated physical consistency to the abstractness of geometry.
His work is above all silent. It is the poetic condition that Savelli chooses, and never relinquishes in decades of lucid, sweetly estranged research.
图片文件像素：5457 x 4998 px
草间弥生，当代艺术I-
Yayoi Kusama - Zeitgenössische Kunst I-
(born in Matsumoto, Japan 1929)
Pumpkin KKK, 2002, signed, dated and titled on the reverse, acrylic on canvas, 22.7 x 15.8 cm, in plexiglass box
This work is accompanied by a registration card issued by Yayoi Kusama Studio
We are grateful to Yayoi Kusama Inc. for confirming the registration of the work in its database
Provenance:
European Private Collection
Iconic Pumpkin
Yayoi Kusama is possibly the best known Japanese artist in the world. Her famous polka dots have become her trademark and Kusama\'s stylized pumpkins are among the most iconic masterpieces of contemporary art.
Born in the late 1920s, Yayoi Kusama grew up in the conservative confines of the small town of Matsumoto in Nagano Prefecture in Japan. She attended the Kyoto School of Arts and Crafts, and after staging her first exhibitions, through which she was ‘discovered’ by the international art world, Kusama was able to emigrate to America, where she lived and worked, primarily in New York, from 1957 to 1973. Kusama celebrated her first major success in New York in 1959 with a solo exhibition at the Brata Gallery, entitled Obsessional Monochrome. The Infinity Net Paintings exhibited there were compositions of dense networks executed with white brushstrokes on a black ground and characterised by the theme of repetition.
Grids, flashes of light and, above all, dots that repeat endlessly are the most striking characteristic of Kusama\'s works and established her fame as the ‘Polka Dot Princess’. For the artist, the dots that overgrow everything are not merely a harmless pattern. They have their origins in the hallucinations and panic attacks she has experienced since her youth, which determined her perception of the world. Growing up, she saw dot and net patterns and feared she would dissolve into them. The polka dots and their constant repetition now became an expression of the search for infinity and the desire for self-dissolution. The dots erase the image into which the artist channels her fears. With her polka dots, Kusama covers not only canvases, but also everyday objects such as tea kettles or bookshelves, clothes, giant tentacles, oversized flowers, entire rooms or herself. And pumpkins as well.
\"Pumpkin KKK\" (2002) represents another important theme in Yayoi Kusama\'s work. For Kusama, the pumpkin is associated with memories of childhood and has been a favourite motif with almost mythical status since the 1970s-1980s. The artist first saw pumpkins during walks with her grandfather, and they had a calming effect on the hallucination-stricken artist. \"I love pumpkins for their humorous shape, their warmth and their human quality,\" Kusama says. She devoted herself to pumpkins in paintings and sculptures and incorporated them into her Infinity Rooms. Bold colours characterise the pumpkins, as do the precisely placed polka dots. The colour scheme follows an inner symbolism, according to which the artist categorises unprocessed experiences. The pumpkins stand for triumph over inner struggles, their endless repetition allows the artist to find her mental balance.
Since her return to Japan, Kusama, who has never made a secret of her illness, has voluntarily lived in a psychiatric institution. In 2017, a museum dedicated solely to her opened in Tokyo and numerous international exhibitions testify to considerable on-going interest in her work. With her unconventional works, her extraordinary performances, self-dramatisations and happenings, Kusama has anticipated many trends in contemporary art.
