图片文件像素：4600 x 3500 px

Günther Förg-

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(Füssen 1952-2013)
Ohne Titel, 1995, Holzschnitt in Farbe auf BFK Rives, signiert und datiert Förg 95, Nr. 83 von 98 nummerierten Exemplaren, Druckstockmaße 70 x 50 cm, Blattmaße 80,5 x 60,5 cm, aus dem Portfolio 'Für die Pinakothek der Moderne' herausgegeben 1997 von der Galerie Klüser und Galerie Sabine Knust/München, (EW)

图片文件像素：4600 x 3500 px

保罗·法里纳（Paolo Farinati）归因于1900年以前的绘画大师和版画、水彩画、微型画-

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(1524–1606)
Die Auferstehung Christi, Feder in Braun, braun laviert auf Bütten, 31 x 21,5 cm, gebräunt, fleckig, rückseitig in Bleistift bezeichnet “affresco nella Chiesa di S. Bernardino Verona”, Passep., ohne Rahmen, (Sch)

图片文件像素：5398 x 5309 px

本杰明·兹维·沙恩-

Benjamin Zwi Shahn - Moderne-

(Kaunas, Litauen 1898–1969 New York)
Maurer, 1940-42, abgenommenes Fresko, 68 x 65 cm, gerahmt

Provenienz:
Europäische Privatsammlung (von der Ehefrau des Künstlers erhalten)

Ausgestellt:
Ravenna, Da Renoir a De Stael: Roberto Longhi e il moderno, Loggetta Lombardesca, 23. Februar - 30. Juni 2003, Ausst.-Kat. S. 368-369 mit Abb.

Literatur:
R. Longhi, La Biennale di Venezia. Grossi premi, grosse sorprese, in „L’Europeo“, 4. Juli 1954
R. Longhi, Scritti sull\'Otto e Novecento, Sansoni, Florenz 1984, S. 143-145

Notiz:
Das Werk ist Teil einer Gruppe von vorbereitenden Skizzen für die Fresken in der Haupthalle des Social Security Building in Washington.

图片文件像素：5645 x 3925 px

Max Peiffer Watenphul-摩登-

Max Peiffer-Watenphul * - Moderne-

(Werferlingen, Sachsen 1896-1976 Rom)
Metone, 1927, betitelt, datiert und monogrammiert Metone, 1927, M. P. W., Öl auf Leinwand, 59,5 x 73 cm, gerahmt

Provenienz:
Sammlung Klaus Gebhard, München
Privatsammlung, München

Ausgestellt:
Kunstmuseum Düsseldorf, Deutsche Kunst, 1928, Kat.-Nr. 606
Kassel, Kunstverein, Max Peiffer Watenphul. Gemälde, Aquarell, Graphik, 1961, Ausst.-Kat. München, Galerie Seifert-Binder, Ein deutscher Maler Italiens, Max Peiffer Watenphul, München 1984

Literatur:
Grace Watenphul Pasqualucci und Alessandra Pasqualucci, Max Peiffer Watenphul Werkverzeichnis, Bd. I, Rom 1993, G 95

图片文件像素：5842 x 5474 px

皮耶罗·多拉齐奥-

Piero Dorazio * - Zeitgenössische Kunst I-

(Rome 1927–2005 Perugia)
Untitled [Contro il rassegnarsi], 1967, Signed, dated, dedicated and inscribed on the reverse, oil on canvas, 100 x 100, framed

This work is registered in the Archivio Piero Dorazio, Milan and is accompanied by a photo certificate of authenticity

Provenance:
V. Pirozzi Collection, Rome
Sale Farsetti, Prato, 27 May 2000, lot 303
Anfiteatro Arte, Milan
European Private Collection

Exhibited:
Milan, Galleria Anfiteatro Arte, 1999, exh. cat. p. 47 no. 15 with ill.
Genoa, Dorazio, Marco Canepa Arte Contemporanea, 2006, exh. cat. with ill.
Padua, Piero Dorazio, Anfiteatro Arte, 1 February – 18 March 2007, exh. cat. p. 74 and 75 with ill. (label on the reverse)


Literature:
M. Volpi Orandini, J. Lassaigne, G. Crisafi, Dorazio Catalogo ragionato delle opere, Alfieri Editore, 1977, no. 8 (in the addenda at the end of the catalogue)

The subject of the painting always drives from the previous painting, hence there is no reason for inspiration. One tries again, keeps on trying to do what he has already done…
Piero Dorazio

Of all the great first and second generation 美国 painters I have known since 1953 (the third generation is not yet discernable), Kenneth Noland is a truly singular case.

He is from North Carolina and Washington, i.e. the provinces, rather than the artistic milieu of New York.

[...]In the 1950s and 1960s I never understood whether some artistic circles in the Metropolis or certain isolated artists like Kenneth Noland and Morris Louis, Georgia O\'Keeffe in New Mexico or Andrew Wyeth in Pennsylvania were more provincial. Although isolated, Louis and Noland were already the most modern of modern 美国 painters in the early 1960s. They were a surprising revelation when discovered and presented by the critic Clement Greenberg at the 法国 and Co. Gallery in New York. Their exhibitions in that gallery between \'59 and \'60 remain by far the most exciting of the decade.

Kenneth Noland\'s painting has nothing to do, therefore, with all the clichés of 美国 painting disseminated here by European critics who have framed all expressions into schools or categories or groups (Action Painting, New Dada, Abstract expressionism, Pop Art, Minimal Art etc.) letting what were actually the most creative values and personalities slip through their fingers. [...]

Ken Noland established himself, from the late 1960s and 1970s, among those few artists defined as \'Colour field painters\' or \'Post Painterly Abstraction\' not as a group but rather as a trend: Helen Frankenhaler, Morris Louis, Jules Olitsky, Friedel Dzubas, Larry Poons. There was a convergence of interests among these painters for colour as an element that defines large spaces and long periods of time for the observer, who is induced to meditate because he is immersed in the rhythm of the lines and chromatic masses of a truly abstract painting, devoid of any allusion or reference to the real, the metaphysical or the subjective temperament. Painting that refers on the one hand to the decorative character of early Matisse, and on the other to the secular spirit of Constructivism. Among those painters, Noland was always the one who, with tenacity and clarity of purpose, was best able to sublimate \'pure visibility\' into a highly lyrical personal poetics. His nature as a colourist and his technique inspired his constant formal research into surface-colour and material-colour relationships. [...]

In these works chromatic fantasy and refined sensitivity, arranged in a precise structural order, bring the brushstrokes and pictorial matter to life in decisive and delicate spaces and lights and rhythms, expressing a constant reflection on the inevitable characteristics of reality. Constancy and appearance, the negative and the positive, fullness and emptiness; our gaze is entertained and delighted by this repertoire of perception, emotion and mind.

(Piero Dorazio, Il singolare caso di Kenenth Noland, in “Rigando dritto. Piero Dorazio Scritti 1945-2004, pp. 425-427)

图片文件像素：6225 x 4020 px

卡尔·普拉特纳-现代-

Karl Plattner * - Moderne-

(Mals, Südtirol 1919-1986 Meran)
Ast mit Äpfeln, 1984, signiert und datiert K. Plattner 84, Öl auf Leinwand, 81 x 59,5 cm, gerahmt

Provenienz:
Privatsammlung, Österreich

Das Verhältnis zur Natur ist der Nährboden für die Kunst des 1919 im Vinschgau in Südtirol geborenen Malers Karl Plattner. Dennoch sind Stillleben von Dingen in seinem Œuvre, in dem nichts dem Zufall überlassen wird, selten. Das feine Gemälde eines Astes voller reifer Äpfel folgt dieser künstlerischen Haltung: Ein strukturierter Farbauftrag auf monochromen Flächen, durchzogen von feinen, vibrierenden Linien, spielt mit den Gesetzen der Schwerkraft und vermittelt Ruhe und Spannung zugleich.

图片文件像素：5663 x 4147 px

米谢·弗龙-

Jean-Michel Folon * - Zeitgenössische Kunst I-

(Brussels 1934–2005 Monaco)
La pêche miraculeuse (Buste aux poissons) / The Miraculous Catch (Bust with Fish), 2005, bronze, signed and numbered HC 2/2 (from an edition of 2 + 2 EA + 2 HC) with the foundry mark: Romain Fils, h 81 cm w 43 cm.

This work will be included in the artist’s forthcoming catalogue raisonné currently being prepared by the Fondation Folon.

This work is registered at the Fondation Folon with the number F400 and is accompanied by a certificate of authenticity.

Provenance:
European Private Collection

The 比利时 artist Jean-Michel Folon (1934-2005) has left a universal mark on the collective imagination of the last third of the 20th century through his posters, illustrations, television animations, and his numerous exhibitions. A humanist, he left behind a figurative and poetic body of work rooted in traditional techniques, which was atypical for an environment dominated by conceptual art. Folon turned to sculpture in the early 1990s, having initially focused on paper-based techniques (inks, silk-screen printing, watercolour), thus providing him with a new challenge.
His sculptures are inspired by ethnographic art and characterised by their frontality and corporality, from the Cyclades to the Etruscans, from African masks to Amerindian totems. They are largely centred on the human being and embody themes that were once treated graphically and thus project the artist\'s universe into atypical and natural environments: landscapes, gardens, parks, interiors.

La pêche miraculeuse (Buste aux poissons) [The Miraculous Catch (Bust with Fish)] from 2005 presents the artist’s favoured Everyman, the character with the hat, onto whom everyone can project themselves. He is holding an armful of fish. This bust sculpture is a variation on a theme that Folon had explored with a few years earlier in his Fontaine aux poissons [Fountain with Fish], which has been shown to the public on numerous occasions at major exhibitions, notably in Florence in 2005. The quality of the patina of this remarkable Catch is typical of Folon\'s quasi-pictorial quest for sculpture. It drew this comment from the sculptor.

“You make impressionist sculptures, these are the patinas of a painter and each of your sculptures will be unique because you will never be able to do the same thing twice.”
César

图片文件像素：4600 x 3500 px

19世纪英国学派，安东尼奥·乔利模仿者（1700-1777年）19世纪绘画-

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Panoramaansicht von London und der Themse mit Somerset House, St. Paul’s Cathedral, dem Tower of London und der alten Blackfiars Bridge, Gouache auf Papier, 36,8 x 69,8 cm, gerahmt

图片文件像素：4531 x 4737 px

Arnulf Rainer，当代艺术I-

Arnulf Rainer * - Zeitgenössische Kunst I-

(born in Baden near Vienna in 1929)
Untitled, “Face Farces”, c. 1970, signed A. Rainer, oil, oil crayon, colour pencil on photograph, 60 x 59.5 cm, framed

Exhibited and illustrated in the catalogue:
Arnulf Rainer, Arte92, Milan, 23 January – 21 March 1992, p. 83

Provenance:
Collection Carlo Monzino
Private Collection, Italy

Voller Wahnwillen wünsche ich mir, daß Irrwelten, Fremdwesen und Neomorphismen meine Bildflächen überschwemmen.
Arnulf Rainer

Full of delusion, I wish for unreal worlds, alien beings and neomorphisms to flood my picture surfaces.
Arnulf Rainer

图片文件像素：5572 x 3953 px

佩德罗·德奥拉-现代-

Pedro de Oraá - Moderne-

(Havanna 1931-2020)
Ohne Titel, 1957, signiert, Öl auf Leinwand, 85 x 66,5 cm, gerahmt

Die vorliegende Arbeit ist im Archiv der Foundation Pedro De Oraá registriert. Ein Fotozertifikat liegt bei.

Provenienz:
Europäische Privatsammlung

Literatur:
Dieses Werk wird in A. Alonso, Pedro de Oraá. De lo concreto a lo infinito (erscheint 2023) veröffentlicht.

Dieses Werk stellt eine der radikalsten Phasen dar, die Oraá in seiner Karriere durchlief. Es ist ein Beispiel für konkrete Kunst und gleichzeitig ein Zeugnis jener Jahre, in denen sich seine Persönlichkeit und sein charakteristischer Stil herausbildeten.