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613

Michael ButheOhne TitelStoffbild: Gerissener gefärbter Stoff auf Holzrahmen. Ca. 234 x 230 x 10

In Contemporary Art

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Michael ButheOhne TitelStoffbild: Gerissener gefärbter Stoff auf Holzrahmen. Ca. 234 x 230 x 10
Das Auktionshaus hat für dieses Los keine Ergebnisse veröffentlicht
Köln
Michael Buthe
Ohne Titel

Stoffbild: Gerissener gefärbter Stoff auf Holzrahmen. Ca. 234 x 230 x 10 cm. Rückseitig auf dem Stoff und auf dem Holz jeweils signiert, datiert und betitelt 'Michael Buthe 1969 Ohne Titel' sowie mit Richtungspfeil und -angabe. - Mit Atelier- und leichten Altersspuren.

Die vorliegende Arbeit wird in das in Vorbereitung befindliche Werkverzeichnis von Pay Matthis Karstens, Juerg Judin und Hannelore Kunert, Berlin/Köln aufgenommen.

Provenienz
Privatsammlung, Norddeutschland

Das Zerschneiden oder Zerreißen, eher Zerfetzen der Stoffbespannungen wirkt respektlos und aggressiv. In Erdtönen gebatikte Stoffe, die wie in zarten Farbschichten gemalte Lasuren übereinander auf einen gerasterten Latten-Rahmen gespannt sind, hängen wie nach einer Havarie schlaff herunter, erweisen sich als abgeschlossen gewollt und werden nicht ‚repariert'! In Entwurfszeichnungen vorbereitet, zerschneidet oder besser zerreißt Michael Buthe die Grundlage einer Jahrhunderte von Jahren geltenden Voraussetzung für traditionelle Malerei. Er experimentiert mit den Möglichkeiten eines Bildes und scheint mit dieser Geste zum Ende der Gattung zu gelangen, die Laszlo Glozer einst als „Ausstieg aus dem Bild“ beschreibt.
Diese Geste wirkt noch radikaler als die ästhetisch, spontan gesetzten Schnitte, die Lucio Fontana setzt, um der Leinwand eine Dreidimensionalität zu verpassen und dem Betrachter die kuriose Möglichkeit schafft, etwa in den Raum dahinter zu blicken. Buthes Geste kann auch als leidenschaftliche Antwort auf Blinky Palermos gleichzeitig entstehende „Stoffbilder“ gesehen werden; industriell gefärbte Baumwolle in Farb-Bahnen zusammengenäht und über einen Keilrahmen gespannt, womit er dem Vorgang des Malens an sich eine verblüffende Variante gegenüberstellt.
Buthes frühe Stoffbilder inszenierte Harald Szeemann in seiner legendären Ausstellung „When Attitudes Become Form“ in Bern 1969. Seine Werke werden in den Kanon ebenso radikal wirkender Arbeiten, etwa von Richard Serra und dessen von der Wand hängenden Gummibänder, den unbehandelten Fellfetzen nach dem Scheren der Lämmer an stelenartigen Stöcken befestigt von Jannis Kounellis oder den ungeordnet zerschnittenen Filzbahnen von Robert Morris, aufgenommen.

MvL

Michael Buthe
Untitled

Painting on fabric: torn and dyed fabric on wooden frame. Approx. 234 x 230 x 10 cm. Signed, dated, and titled 'Michael Buthe 1969 Ohne Titel' verso on fabric and wood respectively and with directional arrow and information. - Traces of studio and minor traces of age.

Cutting or tearing, or rather shredding of the fabric covering seems disrespectful and aggressive. The fabrics, batiqued in earth tones, stretched across each other on the canvas frame like delicate coloured layers of painted varnish, hang simply down like after a disaster, prove to be intentionally complete and will not be repaired! Prepared in preliminary drawings, Michael Buthe cuts or rather tears apart the groundwork of the prerequisite of traditional painting that has been valid for centuries. He experiments with the possibilites of a picture and with this gesture appears to come to the end of the genre that Laszlo Glouer once described as "leaving the picture".
This seems even more radical than the aesthetic, spontaneous cuts which Lucio Fontana uses to give the canvas a three-dimensionality and the viewer the curious possibility that they can see through to the space behind. Buthe's gesture can also be seen as a passionate response to Blinky Palermo's contemporaneous "fabric pictures"; industrially-coloured cotton strips sewn together and stretched across the frame thus confronting the process of painting itself with an astonishing variation.
Buthe's early fabric pictures featured in Harald Szeemann's legendary exhibition "When Attitudes Become Form" in Bern in 1969. His pieces are incorporated in the canon of equally radical works such as those by Richard Serra and his rubber bands hanging from the wall, the untreated shreds of wool after shearing the lambs attached to stele-like sticks by Jannis Kounellis, or the disorderly cut felt strips by Robert Morris.

MvL
Michael Buthe
Ohne Titel

Stoffbild: Gerissener gefärbter Stoff auf Holzrahmen. Ca. 234 x 230 x 10 cm. Rückseitig auf dem Stoff und auf dem Holz jeweils signiert, datiert und betitelt 'Michael Buthe 1969 Ohne Titel' sowie mit Richtungspfeil und -angabe. - Mit Atelier- und leichten Altersspuren.

Die vorliegende Arbeit wird in das in Vorbereitung befindliche Werkverzeichnis von Pay Matthis Karstens, Juerg Judin und Hannelore Kunert, Berlin/Köln aufgenommen.

Provenienz
Privatsammlung, Norddeutschland

Das Zerschneiden oder Zerreißen, eher Zerfetzen der Stoffbespannungen wirkt respektlos und aggressiv. In Erdtönen gebatikte Stoffe, die wie in zarten Farbschichten gemalte Lasuren übereinander auf einen gerasterten Latten-Rahmen gespannt sind, hängen wie nach einer Havarie schlaff herunter, erweisen sich als abgeschlossen gewollt und werden nicht ‚repariert'! In Entwurfszeichnungen vorbereitet, zerschneidet oder besser zerreißt Michael Buthe die Grundlage einer Jahrhunderte von Jahren geltenden Voraussetzung für traditionelle Malerei. Er experimentiert mit den Möglichkeiten eines Bildes und scheint mit dieser Geste zum Ende der Gattung zu gelangen, die Laszlo Glozer einst als „Ausstieg aus dem Bild“ beschreibt.
Diese Geste wirkt noch radikaler als die ästhetisch, spontan gesetzten Schnitte, die Lucio Fontana setzt, um der Leinwand eine Dreidimensionalität zu verpassen und dem Betrachter die kuriose Möglichkeit schafft, etwa in den Raum dahinter zu blicken. Buthes Geste kann auch als leidenschaftliche Antwort auf Blinky Palermos gleichzeitig entstehende „Stoffbilder“ gesehen werden; industriell gefärbte Baumwolle in Farb-Bahnen zusammengenäht und über einen Keilrahmen gespannt, womit er dem Vorgang des Malens an sich eine verblüffende Variante gegenüberstellt.
Buthes frühe Stoffbilder inszenierte Harald Szeemann in seiner legendären Ausstellung „When Attitudes Become Form“ in Bern 1969. Seine Werke werden in den Kanon ebenso radikal wirkender Arbeiten, etwa von Richard Serra und dessen von der Wand hängenden Gummibänder, den unbehandelten Fellfetzen nach dem Scheren der Lämmer an stelenartigen Stöcken befestigt von Jannis Kounellis oder den ungeordnet zerschnittenen Filzbahnen von Robert Morris, aufgenommen.

MvL

Michael Buthe
Untitled

Painting on fabric: torn and dyed fabric on wooden frame. Approx. 234 x 230 x 10 cm. Signed, dated, and titled 'Michael Buthe 1969 Ohne Titel' verso on fabric and wood respectively and with directional arrow and information. - Traces of studio and minor traces of age.

Cutting or tearing, or rather shredding of the fabric covering seems disrespectful and aggressive. The fabrics, batiqued in earth tones, stretched across each other on the canvas frame like delicate coloured layers of painted varnish, hang simply down like after a disaster, prove to be intentionally complete and will not be repaired! Prepared in preliminary drawings, Michael Buthe cuts or rather tears apart the groundwork of the prerequisite of traditional painting that has been valid for centuries. He experiments with the possibilites of a picture and with this gesture appears to come to the end of the genre that Laszlo Glouer once described as "leaving the picture".
This seems even more radical than the aesthetic, spontaneous cuts which Lucio Fontana uses to give the canvas a three-dimensionality and the viewer the curious possibility that they can see through to the space behind. Buthe's gesture can also be seen as a passionate response to Blinky Palermo's contemporaneous "fabric pictures"; industrially-coloured cotton strips sewn together and stretched across the frame thus confronting the process of painting itself with an astonishing variation.
Buthe's early fabric pictures featured in Harald Szeemann's legendary exhibition "When Attitudes Become Form" in Bern in 1969. His pieces are incorporated in the canon of equally radical works such as those by Richard Serra and his rubber bands hanging from the wall, the untreated shreds of wool after shearing the lambs attached to stele-like sticks by Jannis Kounellis, or the disorderly cut felt strips by Robert Morris.

MvL

Contemporary Art

Auktionsdatum
Ort der Versteigerung
Neumarkt 3
Köln
50667
Germany

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1. The art auction house, Kunsthaus Lempertz (henceforth referred to as Lempertz), conducts public auctions in terms of § 383 paragraph 3 sentence 1 of the Civil Code as commissioning agent on behalf of the accounts of submitters, who remain -anonymous. With regard to its auctioneering terms and conditions drawn up in other languages, the German version remains the official one.
2. The auctioneer reserves the right to divide or combine any catalogue lots or, if it has special reason to do so, to offer any lot for sale in an order different from that given in the catalogue or to withdraw any lot from the sale.
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11. In the case of payment default, Lempertz will charge interest on the outstanding amount at a rate of 1 % of the gross price per month or part month. If the buyer defaults in payment, Lempertz may at its discretion insist on performance of the purchase contract or, after allowing a period of grace, claim damages for non-performance. In the latter case, Lempertz may determine the amount of the damages by putting the lot or lots up for auction again, in which case the defaulting buyer will bear the amount of any reduction in the proceeds compared with the earlier auction, plus the cost of resale, including the premium.
12. Buyers must take charge of their purchases immediately after the auction. Once a lot has been sold, the auctioneer is liable only for wilful intent or gross negligence. Lots will not, however, be surrendered to buyers until full payment has been received. Without exception, shipment will be at the expense and risk of the buyer. Purchases which are not collected within four weeks after the auction may be stored and insured by Lempertz on behalf of the buyer and at its expense in the premises of a freight agent. If Lempertz stores such items itself, it will charge 1 % of the hammer price for insurance and storage costs.
13. As far as this can be agreed, the place of performance and jurisdiction is Cologne. German law applies; the provisions of the United Nations Convention on Contracts for the International Sale of Goods, CISG are not applicable. Should any provision herein be wholly or partially ineffective, this will not affect the validity of the remaining provisions.
Henrik Hanstein, sworn public auctioneer
Takuro Ito, Auctioneer

 

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