图片文件尺寸 : 2647 x 3289px

“一位年轻女性认为是哈拉尔德·斯洛特·默勒的《圣约翰之火》-Harald Slott-Møller

一个年轻的女人看着圣约翰的篝火。。。-Harald Slott-Møller (丹麦, 1864-1937)

图片文件尺寸 : 4419 x 2791px

《君士坦丁堡的市场街与哈拉尔德·杰里考的圣索菲亚教堂》-Harald Jerichau

Marktstraße in Konstantinopel mit Hagia Sophia--Harald Jerichau (丹麦, 1851-1878)

图片文件尺寸 : 4260 x 3368px

“来自哈拉尔德·索尔伯格的《渔夫小屋》Værvågen-Harald Sohlberg

From Værvågen, The Fishermans Cottage--Harald Sohlberg (挪威, 1877 - 1935)

图片文件尺寸 : 2043 x 2848px

克里斯蒂安·克罗格的《斯诺尔·斯特拉森，国王传奇》中“哈拉尔德·头发父亲的插图变种”-Christian Krohg

Variant av illustrasjon til Harald Hårfagre i Snorre Sturlason, Kongesagaer--Christian Krohg (挪威, 1852-1925)

图片文件尺寸 : 1212 x 2000px

克里斯蒂安·克罗格的《斯诺尔·斯特拉森，国王传奇》中哈拉尔德·头发父亲传奇的插图变体-Christian Krohg

Variant av illustrasjon til Harald Hårfagres saga i Snorre Sturlason, Kongesagaer--Christian Krohg (挪威, 1852-1925)

材质 : Oil on canvas

图片文件尺寸 : 4859 x 3695 px

Harald Jerichau-Marktstraße in Konstantinopel mit Hagia Sophia, Ca. 1875.

哈拉尔德·杰里考-君士坦丁堡的市场街，圣索菲亚教堂，约1875年。

材质 : Oil on canvas

图片文件尺寸 : 4859 x 3695 px

Harald Duwe-Samson und Dalila (Bildnis Angelika und Jens Christian Jensen), 1976.

哈拉尔德·杜威-萨姆森和达利拉（安吉丽卡和延斯·克里斯蒂安·延森肖像），1976年。

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杰森·马丁，当代艺术I-

Jason Martin * - Zeitgenössische Kunst I-

(born in London in 1970)
Untitled, 2008, oil on steel, 236 x 354 x 11 cm

Provenance:
Private collection Thomas Olbricht, Essen
Van Ham, Cologne, 26 September 2020, lot 333 - acquired there by the present owner

Exhibited:
Hamburg, Deichtorhallen, Zwei Sammler: Thomas Olbricht und Harald Falckenberg, 24 June – 21 August 2011

Literature:
Luckow, Dirk: Zwei Sammler - Thomas Olbricht und Harald Falckenberg, Cologne 2011, p. 52 (without ill.)

The British artist Jason Martin expands the possibilities of painting with his innovative approach in using unusual materials which serve as paint. He attracted international attention with his large, brushed oil paintings, executed in thin layers of paint with self-made comb-like tools – such as the one being auctioned off. Because of the light bouncing off the shiny surface, experiencing the work in person is like walking towards a sculpture rather than a painting.

“There’s never really any single point to review the work or to experience the work, it’s about moving around. But there is a stillness as well, in that the organisation of the marks all collide into a central or suggested central point. […] When you encounter a work of mine, there is an academic approach to the performative act, the gestural act. I have a series of reduced movements that then compile in a composition. And you also look through it, because there is this implied sense of looking through, this illusion. […] I would suggest that my paintings are a hybrid between that naturalism, that looking through, that perspectival space, that implied pictorial depth and the didactic, academic concerns of abstraction, which are for me physical and arm-led, or I immerse my body into the whole making of the work. And they sit very much in between these two places, these two worlds. [...]”
Jason Martin on the exhibition: Convergence. Thaddaeus Ropac, Seoul Fort Hill, 24.2.-16.4.22

丹麦艺术家作品集