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彼得·保罗·鲁本斯的《使徒彼得受难记》-Peter Paul Rubens

The Crucifixion of Peter the Apostle--Peter Paul Rubens (Flemish, 1577-1640)

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Tilo Baumg rtel公司 Tilo Baumgrtel的帖子、Peter Busch的颂歌、Tim Eitel的助手、Martin Kobe的Ohne Titel、Christoph Ruckhberle的Stille Post、David Schnell的Baumschule和Matthias Weischer的Ohne Tetel

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Franz Xaver Peter，1900年以前的绘画大师和版画，水彩画，微型画-

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(Wien 1791-1866) Drei Studien: Blaue Gärtnerprimeln und ein grüner Laufkäfer, Erdbeerblüten, Glockenblumen und Maikäfer, Drei Farnblätter, bezeichnet Fr. Xav. Petter Wien, Fr. X. Petter (1)861 bzw. teilweise unleserlich bezeichnet Fr. Xav. Petter Wien ... (verblasst), Bleistift, Aquarell auf Papier, 33,9 x 29 cm, 40 x 26,3 cm, 43 x 27,5 cm, Passep., ohne Rahmen, in einer Aufbewahrungskassette, gebräunt, Lichtrand, fleckig, (3) (BH)

30 x 20 (76.2 x 50.8 cm)

Barney Bubbles (Colin Fulcher), Peter Kodick (Peter Gravelle). The Damned. 1977

巴尼·泡泡（科林·富尔彻饰）、彼得·科迪克（彼得·格雷维尔饰）。该死的。1977-

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《使徒彼得》彼得·保罗·鲁本斯著-Peter Paul Rubens

使徒彼得--Peter Paul Rubens (Flemish, 1577-1640)

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彼得·保罗·鲁本斯的《圣彼得》-Peter Paul Rubens

圣彼得--Peter Paul Rubens (Flemish, 1577-1640)

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彼得·哈雷，当代艺术I-

Peter Halley - Zeitgenössische Kunst I-

(born in New York 1953)
Six Prisons, 2006, signed and dated on the reverse, acrylic, fluorescent acrylic, pearlescent, metallic acrylic, and Roll-a-Tex on 6 adjoined canvases, 190.5 x 190.5 cm

We are grateful to Peter Halley Studio, New York for the kind assistance with the cataloguing of this work.

Provenance:
Galerie Forsblom, Stockholm (label on the reverse)
Private Collection, Vienna

Exhibited:
Galerie Forsblom, Helsinki, 10 November
2006 - 10 January 2007
Peter Halley – Prisons, Friedrich Schiller University,
Jena, 德国y, 10 May 2014 – 27 July 2014

Literature:
Martin S. Fischer, Barbara Happe, Steffen Siegel, et al.,
Peter Halley – Prisons, exhibition catalogue (Jena: Friedrich Schiller University, 2014), 91, ill.

“The deployment of the geometric dominates the landscape. Space is divided into discrete, isolated cells, explicitly determined as to extent and function. Cells are reached through complex networks of corridors and roadways that must be traveled at prescribed speeds and at prescribed times. The constant increase in the complexity and scale of these geometries continuously transforms the landscape…

Along with the geometrization of the landscape, there occurs the geo-metrization of thought. Specific reality is displaced by the primacy of the model. And the model is in turn imposed on the landscape, further displacing reality in a process of ever more complete circularity.”
Peter Halley, The Employment of the Geometric

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Peter Kinley: Summer
signed \'Peter Kinley\' (on the stretcher); further signed, titled and dated \'Peter Kinley/Summer/1971-72\' (on the canvas overlap)
oil on canvas
137.2 x 182.9 cm. (54 x 72 in.)

彼得·金利 夏季137.2 x 182.9厘米。

9 x 9 (274.5 x 274.5 cm)

Peter Young. #7 - 1967. 1967

彼得·杨#7 1967. 1967-

6 3/4 x 8 1/4 (17.1 x 21 cm)

Peter Stauss. Fehmarn. 2001

彼得·史陶斯。费曼。2001-