图片文件像素：4859 x 4286 px

西格弗里德·安辛格-

Siegfried Anzinger * - Zeitgenössische Kunst II-

(born in Weyer/Enns in 1953)
“Das weiße Buch”, signed, dated Anzinger 1999 on the reverse as well as inscription on the stretcher: Das weisse Buch, oil on canvas, 75 x 50 cm, on stretcher

图片文件像素：6072 x 4669 px

陈丹阳，当代艺术II-

Chen Danyang - Zeitgenössische Kunst II-

(born in Xiangshan, China in 1976.; lives and works in Shanghai)
Bach-Well-Tempered Clavier no. 33, 2011, signed, dated and titled on the reverse, oil on canvas, 160 x 100 cm, framed

图片文件尺寸 : 4446 x 6774px

让·巴蒂斯特·卡米尔·科洛的《井边的意大利女人》-Jean-Baptiste-Camille Corot

井边的意大利女人--Jean-Baptiste-Camille Corot (法国, 1796 - 1875)

图片文件像素：4940 x 3906 px

Hans Staudacher，当代艺术I-

Hans Staudacher * - Zeitgenössische Kunst I-

(St. Urban 1923–2021 Vienna)
“Wien ...”, signed, dated Staudacher 87 and titled “Wien” as well as signed, dated HStaudacher 1987 on the reverse, oil on canvas, 120 x 80 cm, framed

材质 : Oil on canvas

图片文件尺寸 : 4859 x 3695 px

Wilhelm Trübner-Weiblicher Akt im Schaum einer Welle: \"Oceanide\", 1872.

威廉·特吕布纳-波浪泡沫中的女性裸体：《大洋洲》，1872年。

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.

图片文件尺寸 : 6881 x 9988px

《我们一起走得多好》作者：Adrian Pietersz。Van De Venne-Adriaen Pietersz. Van De Venne

我们相处得如何--Adriaen Pietersz. Van De Venne (荷兰, 1589-1662)

图片文件像素：5714 x 4949 px

赫尔曼·尼奇，当代艺术II-

Hermann Nitsch * - Zeitgenössische Kunst II-

(Vienna 1938–2022 Mistelbach, Lower Austria)
Splatter Painting, signed, dated hermann nitsch 07 on the reverse as well as with archive no. K SHEILA-07 on wooden frame, acrylic on burlap, 100 x 80 cm, framed

图片文件尺寸 : 2201 x 2936px

约翰·辛格·萨金特（John Singer Sargent）的《带库菲文铭文的井口》-John Singer Sargent

库法文井口--John Singer Sargent (美国, 1856-1925)

图片文件像素：4801 x 5095 px