Beschrijving
Signed and dated 'Asger 40' (lower left), frame size 72 x 85 cm.
Condition Report
Edges slightly rubbed, few lines of fine craquelures, tiny spot of paint loss in places, otherwise in very good condition, unexamined out of the frame. Framed in a gilded frame.
Literature
Atkins, G., Jorn in Scandinavia 1930-1953, London, 1968, p. 143, fig. 125 (ill.) & p. 330, no. 134 (ill.).
Provenance
Christie's, Amsterdam, 10 December 1992, lot 309.
Thorkild Hansen, Copenhagen.
Vagn Leger, Malmö.
Christie's, Amsterdam, 5 June 2008, lot 287.
Notes
Years before Asger Jorn became one of the leading artists of the international CoBrA movement after World War II, he left for Paris at the age of 22. Here, in the period 1936-1937, his work took on a higher degree of abstraction. He studied at Fernand Léger's Académie Contemporaine and joined Le Corbusier, under whom he worked on the French pavilion for the 1937 World Exhibition in Paris. In the same year, the exhibition 'Entartete Kunst' took place in Munich, where it was made clear once and for all that modern art as Jorn made it was not accepted by the German National Socialist regime.
Jorn painted this extraordinarily expressive painting in 1940, sometime after his return to Denmark and in the year Nazi Germany occupied his homeland. During this period, Jorn founded the underground art group and the eponymous magazine Helhesten (Hell Horse) with the architect Robert Dahlmann Olsen. This magazine would later serve as a model for publications such as Reflex in the Netherlands and the international CoBrA magazine, in which Jorn was an active participant. This work clearly expresses his resistance to the occupying forces. Not only does the high degree of abstraction and expressive colours bear witness to this, but also the figures seem to scream their protest from the canvas.
Details
- Databanknummer:
- 90311
- Lotnummer:
- -
- Advertentietype
- Archief
- Instelling:
- Adams Amsterdam Auctions BV.
- Veilingdatum:
- -
- Veilingnummer:
- -
- Stad
- -
- Limietprijs
- -
- Aankoopprijs
- -
- Verkoopprijs
- -
- Hamerprijs
- -
- Status
- Verkocht
Technische details
- Kunstvorm:
- Schilder- en Tekenkunst
- Technieken:
- Olieverf
- Dragers:
- Doek
- Lengte:
- 60 cm
- Breedte:
- 73 cm
- Hoogte:
- -
- Oplage:
- -
Beschrijving
Signed and dated 'Asger 40' (lower left), frame size 72 x 85 cm.
Condition Report
Edges slightly rubbed, few lines of fine craquelures, tiny spot of paint loss in places, otherwise in very good condition, unexamined out of the frame. Framed in a gilded frame.
Literature
Atkins, G., Jorn in Scandinavia 1930-1953, London, 1968, p. 143, fig. 125 (ill.) & p. 330, no. 134 (ill.).
Provenance
Christie's, Amsterdam, 10 December 1992, lot 309.
Thorkild Hansen, Copenhagen.
Vagn Leger, Malmö.
Christie's, Amsterdam, 5 June 2008, lot 287.
Notes
Years before Asger Jorn became one of the leading artists of the international CoBrA movement after World War II, he left for Paris at the age of 22. Here, in the period 1936-1937, his work took on a higher degree of abstraction. He studied at Fernand Léger's Académie Contemporaine and joined Le Corbusier, under whom he worked on the French pavilion for the 1937 World Exhibition in Paris. In the same year, the exhibition 'Entartete Kunst' took place in Munich, where it was made clear once and for all that modern art as Jorn made it was not accepted by the German National Socialist regime.
Jorn painted this extraordinarily expressive painting in 1940, sometime after his return to Denmark and in the year Nazi Germany occupied his homeland. During this period, Jorn founded the underground art group and the eponymous magazine Helhesten (Hell Horse) with the architect Robert Dahlmann Olsen. This magazine would later serve as a model for publications such as Reflex in the Netherlands and the international CoBrA magazine, in which Jorn was an active participant. This work clearly expresses his resistance to the occupying forces. Not only does the high degree of abstraction and expressive colours bear witness to this, but also the figures seem to scream their protest from the canvas.
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