Beeldmateriaal
Beschrijving
Complete set of five lithographs in colour on BFK Rives with justification and a hand-written text by the artist, loose as issued in the original cloth-covered portfolio with screen-printed title
each print signed, dated, numbered and titled 'MDumas 1986', printed by Marcel Kalksma, Amsterdam and published by De Expeditie, Amsterdam, 1986
'Intolerant boy' with very light handling creases in the upper centre, paper of 'Sweety pie' toned within the margins of the former passe-partout, inner paper cover of the portfolio slightly cockled, otherwise in excellent condition.
Provenance:
Galerie Paul Andriesse, Amsterdam, 1987.
Acquired at the above by the present owner.
Notes:
Dumas is known for highly contested subjects. However, probably the most scandalous theme in her art is childhood, embodied by the artist's merciless depictions of children. Dumas portrays children as distorted, uncanny and discomforting creatures. The prevalent feeling embodied in those works is fear, and it is the fear of nothing else but babies. To see your own offspring as a parasite might seem outrageous to most of people but not to Dumas. The artist, despite also being a mother, does not restrain from using her own children as models for her, at the very least, ambivalent works. She exposes the monstrous, and deeply suppressed by most adults, nature of children and replaces their presumed innocence with something very disturbing. But these sometimes horrifying depictions have much more to offer than just the shock value. They allow us to question something that before seemed unquestionable - our conventions of parenthood versus reality. Yet, there is another angle to look at Dumas' body of work. The artist does not refrain from political commentary, children's presumed innocence is questioned from the perspective of the past. This angle manifests itself in works such as the 'Collaborator's Son' or the 'Chernobyl Child'. Dumas provokes the viewer by purposefully making use of large formats which elicit the confrontation with meanings which were formerly repressed.
Also in the collections of the Stedelijk Museum, Amsterdam and the Centraal Museum, Utrecht.
Details
- Databanknummer:
- 88727
- Lotnummer:
- -
- Advertentietype
- Archief
- Instelling:
- Adams Amsterdam Auctions BV.
- Veilingdatum:
- -
- Veilingnummer:
- -
- Stad
- -
- Limietprijs
- -
- Aankoopprijs
- -
- Verkoopprijs
- -
- Hamerprijs
- -
- Status
- Niet verkocht
Technische details
- Kunstvorm:
- Grafische kunst
- Technieken:
- Kleurenlitho
- Dragers:
- Papier
- Lengte:
- 76.4 cm
- Breedte:
- 56.8 cm
- Hoogte:
- -
- Oplage:
- 4/20
Beschrijving
Complete set of five lithographs in colour on BFK Rives with justification and a hand-written text by the artist, loose as issued in the original cloth-covered portfolio with screen-printed title
each print signed, dated, numbered and titled 'MDumas 1986', printed by Marcel Kalksma, Amsterdam and published by De Expeditie, Amsterdam, 1986
'Intolerant boy' with very light handling creases in the upper centre, paper of 'Sweety pie' toned within the margins of the former passe-partout, inner paper cover of the portfolio slightly cockled, otherwise in excellent condition.
Provenance:
Galerie Paul Andriesse, Amsterdam, 1987.
Acquired at the above by the present owner.
Notes:
Dumas is known for highly contested subjects. However, probably the most scandalous theme in her art is childhood, embodied by the artist's merciless depictions of children. Dumas portrays children as distorted, uncanny and discomforting creatures. The prevalent feeling embodied in those works is fear, and it is the fear of nothing else but babies. To see your own offspring as a parasite might seem outrageous to most of people but not to Dumas. The artist, despite also being a mother, does not restrain from using her own children as models for her, at the very least, ambivalent works. She exposes the monstrous, and deeply suppressed by most adults, nature of children and replaces their presumed innocence with something very disturbing. But these sometimes horrifying depictions have much more to offer than just the shock value. They allow us to question something that before seemed unquestionable - our conventions of parenthood versus reality. Yet, there is another angle to look at Dumas' body of work. The artist does not refrain from political commentary, children's presumed innocence is questioned from the perspective of the past. This angle manifests itself in works such as the 'Collaborator's Son' or the 'Chernobyl Child'. Dumas provokes the viewer by purposefully making use of large formats which elicit the confrontation with meanings which were formerly repressed.
Also in the collections of the Stedelijk Museum, Amsterdam and the Centraal Museum, Utrecht.
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