图片文件尺寸 : 4149 x 5376px
“当他们在法国为“无名氏”的爸爸打水龙头时-Anonymous
When they played taps for daddy in France--Anonymous
2.
当Jimmie Europe的乐队在那里演奏Anonymous的蓝调时 高清作品[99%]
图片文件尺寸 : 4070 x 5355px
当Jimmie Europe的乐队在那里演奏Anonymous的蓝调时-Anonymous
When Jimmie Europes band played the blues over there--Anonymous
3.
“鸬鹚和海鸥聚集和嬉戏的地方”，出自久保顺满的《托萨·尼基》系列 高清作品[96%]
图片文件尺寸 : 2539 x 2816px
“鸬鹚和海鸥聚集和嬉戏的地方”，出自久保顺满的《托萨·尼基》系列-Kubo Shunman
Where the Cormorants and Sea Gulls Gathered and Played, from the series Tosa Nikki--Kubo Shunman (Japanese, 1757-1820)
4.
乔治·卡特林（George Catlin）的《Tchang Kee，一个用戒指和杆子玩的曼丹游戏》 高清作品[93%]
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乔治·卡特林（George Catlin）的《Tchang Kee，一个用戒指和杆子玩的曼丹游戏》-George Catlin
TchungKee, a Mandan Game Played With a Ring And Pole--George Catlin (美国, 1796 - 1872)
5.
“威廉·希斯·罗宾逊为我演奏了这首歌 高清作品[73%]
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“威廉·希斯·罗宾逊为我演奏了这首歌-William Heath Robinson
为我的快乐而演奏--William Heath Robinson (英国, 1872-1944)
6.
“当他演奏时，他们按照毛德·亨特·斯奎尔的测量跳舞 高清作品[71%]
图片文件尺寸 : 2676 x 3604px
“当他演奏时，他们按照毛德·亨特·斯奎尔的测量跳舞-Maud Hunt Squire
当他演奏时，他们按照他的尺寸跳舞--Maud Hunt Squire (美国, 1873-1954)
7.
“他打得越快，她就越要被亚瑟·拉坎姆跳得越高 高清作品[70%]
图片文件尺寸 : 1634 x 1974px
“他打得越快，她就越要被亚瑟·拉坎姆跳得越高-Arthur Rackham
他玩得越快，她跳得越高--Arthur Rackham (英国, 1867-1939)
8.
乔治·马修，当代艺术I 高清作品[54%]
图片文件像素：5704 x 4438 px
乔治·马修，当代艺术I-
Georges Mathieu * - Zeitgenössische Kunst I-
(Boulogne-sur-Mer 1921-2012 Paris)
Aglia Tan, 1987, signed; titled on the reverse, oil on canvas, 97 x 162 cm, framed
This work is accompanied by a photo certificate signed by the artist
Provenance:
Artist’s studio
Galerie Sapone, Nice
European Private Collection
Literature:
Georges Mathieu, 50 ans de création, Editions Hervas, p. 548 with ill.
„The wastelands belong to my youth. When I was young I played in the outskirts of the city - watching the cranes at the harbour. There was no law but garbage, grass and wildflowers like boys and girls, rough, hot and sexual and full of hidden pleasures. Life and death are overlapping in the wastelands like in my paintings.“
Karel Appel
9.
Heinz Mack，当代艺术I 高清作品[35%]
图片文件像素：4698 x 4418 px
Heinz Mack，当代艺术I-
Heinz Mack * - Zeitgenössische Kunst I-
(born in Lollar, Hessen 1931)
Wing relief, 1989, signed, dated Mack 89, on the reverse again signed, dated, inscribed and with directional arrow, relief of aluminum grid, board and mirror, 81.5 x 101.5 cm, framed
Certificate:
Atelier Mack, Mönchengladbach, signed by the artist
Provenance:
Private Collection, Rhineland Palatinate
Private Collection, North Rhine-Westphalia - acquired from the above in 2006
Private Collection, Venice
Ketterer Kunst, Munich, 5 December 2006, lot 335
Literature:
Exhibition catalogue Galerie Ludorff, Düsseldorf 2020, p. 88
The Zero artist Heinz Mack discovered the effect of light on a piece of aluminium foil by accident. When he stepped on a piece of the foil lying on the floor, he created a carpet of light, a light reflector with the embossed pattern of his sisal carpet. This showed him how the light from the aluminium foil refracts and at the same time reflects the embossed pattern of the carpet. From then on, the effect of light in his works played a decisive role for Heinz Mack in the conception of his art. The character of the reliefs is that they capture the light and at the same time return it to the room.
The work offered here is from the series of so-called ‘wing reliefs’ (Flügelreliefs). Here Mack - unlike in his painting - does not experiment with colour, but with material and form, with the reflection and location of the viewer in the work. Mack uses a fine-meshed flexible expanded metal aluminium fabric for his wing reliefs, originally created for the aerospace industry. Its technical materiality allow the metal mesh to be given soft contours and to form varied patterns from the individual honeycombs. The artistic intention of making light, structure and movement visible is accentuated in a special way in the wing reliefs by the fine structure of the honeycomb fabric.
The structure of the relief allows the viewer to experience the refraction of light from different angles anew each time. The light refracts in the depths of the honeycombs and captivates the viewer.