57
Horst AntesMit FigurEi-Öl Tempera auf Leinwand 175 x 99 cm. Gerahmt. Auf der umgeschlagenen Leinwand
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Horst Antes
Mit Figur
Ei-Öl Tempera auf Leinwand 175 x 99 cm. Gerahmt. Auf der umgeschlagenen Leinwand signiert, datiert und betitelt 'mit Figur 1963 Antes'. - Mit leichten Altersspuren.
Studienstiftung Horst Antes (Hg.), Horst Antes, Werkverzeichnis der Gemälde, Bd.1, Künzelsau 2020, WVZ-Nr. 1964-36
Provenienz
Privatsammlung, Italien; Galerie Brusberg, Berlin; Sammlung Emil Cimiotti, Wolfenbüttel
Ausstellungen
Berlin 2007/2008 (Galerie Brusberg), Galerie Brusberg: 49, Das große Finale, Ein Bilderbogen in zwei Teilen, Teil1, Meisterwerke der klassischen Moderne und Kunst der Gegenwart
Iserlohn 2006 (Villa Wessel), Horst Antes, Frühe Arbeiten
Berlin 1988 (Galerie Brusberg), Horst Antes, Bilder und Blätter 1960 bis 1987, Ausst.Kat., S.13 mit Farbabb.
Berlin 1984 (Galerie Brusberg), Bilder vom Menschen I, Die expressive Gebärde
Hannover 1968 (Kunstverein), 129. Frühjahrsausstellung, Deutsch Kunst heute, german art today
Venedig 1963 (Centro Internazionale delle Arti e del Costume, Palazzo Grassi), Visione-Colore, Mostra internazionale d'arte contemporanea, Ausst.Kat., o.S. mit Farbabb.
Horst Antes kommt Anfang der 1960er Jahre von der gestischen Abstraktion zu einer figürlichen Bildsprache. In seinen Zeichnungen und Gemälden um 1961/1962 schält sich aus flächigen Schraffuren oder voluminösen Farbwolken zunächst eine Figur mit übergroßem Kopf, übereinander liegenden Augen und stark-verkürzten Gliedmaßen hervor und wird stetig prägnanter. Namenlose, archaische Figuren, mit männlicher oder weiblicher Physiognomie, bevölkern von nun an nahezu jedes von Antes' Werken - der Künstler hat sein bildliches Ausdrucksmittel gefunden, in dem er sich selbst und seine Befindlichkeit spiegelt. Er entwickelt die Figur in den kommenden Jahren zu seinem typischen Kopffüßler mit einheitlich ausgeprägtem, kantigem Gesichtsprofil weiter, der ab Ende der 1960er Jahre die Gemälde bildfüllend beherrschen wird.
Die frühen Figuren hingegen sind noch nicht alleinige Protagonisten in den Bildern, sie werden meist in einen vielschichtigen, erzählerischen Umraum eingebettet. Die hier angebotene Arbeit „Mit Figur“, in ungewöhnlichem Hochformat, platziert eine männliche Gestalt im Bildzentrum einer Industrielandschaft. Inmitten von hinter- und übereinander gestaffelten Rohren, Streben und Metallträgern besitzt die Figur mit ihrer kantigen, statischen Physiognomie selbst eher technischen als organischen Charakter. Doch Antes hebt sie durch Schattierungen hervor und gibt ihr eine gewisse Plastizität, die grüßend erhobene Hand und der leicht geöffnete Mund verleihen ihr Persönlichkeit. Die kleine Dampfwolke über ihr und die orangerote Flüssigkeit, die aus dem Rohr vor ihr fließt, sind einzige weitere organische Bildelemente, aber auch zugleich Bestandteile der industriellen Verarbeitungsprozesse, die in dieser Anlage stattfinden. Industrie und Technik scheinen für den Künstler zur Entstehungszeit des Bildes von besonderem Interesse gewesen zu sein, Rohre und genietete Metallträger sind Motive, die sich auch in anderen zeitgleich entstandenen Werken wiederfinden.
Horst Antes
Mit Figur
Egg-oil tempera on canvas 175 x 99 cm. Framed. Signed, dated and titled 'mit Figur 1963 Antes' on canvas overlap. - Minor traces of age.
Studienstiftung Horst Antes (ed.), Horst Antes, Werkverzeichnis der Gemälde, vol.1, Künzelsau 2020, cat.rais.no. 1964-36
Provenance
Private collection, Italy; Galerie Brusberg, Berlin; collection Emil Cimiotti, Wolfenbüttel
Exhibitions
Berlin 2007/2008 (Galerie Brusberg), Galerie Brusberg: 49, Das große Finale, Ein Bilderbogen in zwei Teilen, Teil1, Meisterwerke der klassischen Moderne und Kunst der Gegenwart
Iserlohn 2006 (Villa Wessel), Horst Antes, Frühe Arbeiten
Berlin 1988 (Galerie Brusberg), Horst Antes, Bilder und Blätter 1960 bis 1987, exhib.cat., p.13 with colour illius.
Berlin 1984 (Galerie Brusberg), Bilder vom Menschen I, Die expressive Gebärde
Hanover 1968 (Kunstverein), 129. Frühjahrsausstellung, Deutsch Kunst heute, german art today
Venedig 1963 (Centro Internazionale delle Arti e del Costume, Palazzo Grassi), Visione-Colore, Mostra internazionale d'arte contemporanea, exhib.cat., unpag. with colour illius.
In the early 1960s, Horst Antes moves from gestural abstraction to a figurative pictorial language. In his drawings and paintings from around 1961/62, a figure with an oversized head, superimposed eyes and severely shortened limbs is first revealed through two-dimensional cross-hatching or voluminous colour clouds, and becomes increasingly concise. From now on, nameless, archaic figures with male or female physiognomy populate almost all of Antes' works - the artist has found his pictorial means of expression in which he mirrors himself and his mental state. Over the next few years, he further develops the figure into his characteristic cephalopod with a uniformly pronounced, angular facial profile which, from the end of the 1960s, would command the whole surface of the paintings.
In contrast, the early figures are not the sole protagonists in the pictures - they are usually embedded in a multi-layered, narrative environment. The present work “Mit Figur”, in an unusual portrait format, places a male figure at the centre of an industrial landscape. In the midst of piles of pipes, struts and metal supports, the figure has a technical rather than organic character with its angular, static physiognomy. However, Antes emphasises the figure with shading and gives it a certain plasticity, the hand raised in greeting and the slightly opened mouth giving it personality. The small steam cloud above and the orange-red liquid flowing out of the pipe in front are the only other organic pictorial elements, but which are simultaneously components of the industrial processing operations that take place in this installation. Industry and technology seem to have been of particular interest to the artist at the time the picture was created - pipes and riveted metal supports are motifs which can also be found in other contemporaneous works.
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Horst Antes
Mit Figur
Ei-Öl Tempera auf Leinwand 175 x 99 cm. Gerahmt. Auf der umgeschlagenen Leinwand signiert, datiert und betitelt 'mit Figur 1963 Antes'. - Mit leichten Altersspuren.
Studienstiftung Horst Antes (Hg.), Horst Antes, Werkverzeichnis der Gemälde, Bd.1, Künzelsau 2020, WVZ-Nr. 1964-36
Provenienz
Privatsammlung, Italien; Galerie Brusberg, Berlin; Sammlung Emil Cimiotti, Wolfenbüttel
Ausstellungen
Berlin 2007/2008 (Galerie Brusberg), Galerie Brusberg: 49, Das große Finale, Ein Bilderbogen in zwei Teilen, Teil1, Meisterwerke der klassischen Moderne und Kunst der Gegenwart
Iserlohn 2006 (Villa Wessel), Horst Antes, Frühe Arbeiten
Berlin 1988 (Galerie Brusberg), Horst Antes, Bilder und Blätter 1960 bis 1987, Ausst.Kat., S.13 mit Farbabb.
Berlin 1984 (Galerie Brusberg), Bilder vom Menschen I, Die expressive Gebärde
Hannover 1968 (Kunstverein), 129. Frühjahrsausstellung, Deutsch Kunst heute, german art today
Venedig 1963 (Centro Internazionale delle Arti e del Costume, Palazzo Grassi), Visione-Colore, Mostra internazionale d'arte contemporanea, Ausst.Kat., o.S. mit Farbabb.
Horst Antes kommt Anfang der 1960er Jahre von der gestischen Abstraktion zu einer figürlichen Bildsprache. In seinen Zeichnungen und Gemälden um 1961/1962 schält sich aus flächigen Schraffuren oder voluminösen Farbwolken zunächst eine Figur mit übergroßem Kopf, übereinander liegenden Augen und stark-verkürzten Gliedmaßen hervor und wird stetig prägnanter. Namenlose, archaische Figuren, mit männlicher oder weiblicher Physiognomie, bevölkern von nun an nahezu jedes von Antes' Werken - der Künstler hat sein bildliches Ausdrucksmittel gefunden, in dem er sich selbst und seine Befindlichkeit spiegelt. Er entwickelt die Figur in den kommenden Jahren zu seinem typischen Kopffüßler mit einheitlich ausgeprägtem, kantigem Gesichtsprofil weiter, der ab Ende der 1960er Jahre die Gemälde bildfüllend beherrschen wird.
Die frühen Figuren hingegen sind noch nicht alleinige Protagonisten in den Bildern, sie werden meist in einen vielschichtigen, erzählerischen Umraum eingebettet. Die hier angebotene Arbeit „Mit Figur“, in ungewöhnlichem Hochformat, platziert eine männliche Gestalt im Bildzentrum einer Industrielandschaft. Inmitten von hinter- und übereinander gestaffelten Rohren, Streben und Metallträgern besitzt die Figur mit ihrer kantigen, statischen Physiognomie selbst eher technischen als organischen Charakter. Doch Antes hebt sie durch Schattierungen hervor und gibt ihr eine gewisse Plastizität, die grüßend erhobene Hand und der leicht geöffnete Mund verleihen ihr Persönlichkeit. Die kleine Dampfwolke über ihr und die orangerote Flüssigkeit, die aus dem Rohr vor ihr fließt, sind einzige weitere organische Bildelemente, aber auch zugleich Bestandteile der industriellen Verarbeitungsprozesse, die in dieser Anlage stattfinden. Industrie und Technik scheinen für den Künstler zur Entstehungszeit des Bildes von besonderem Interesse gewesen zu sein, Rohre und genietete Metallträger sind Motive, die sich auch in anderen zeitgleich entstandenen Werken wiederfinden.
Horst Antes
Mit Figur
Egg-oil tempera on canvas 175 x 99 cm. Framed. Signed, dated and titled 'mit Figur 1963 Antes' on canvas overlap. - Minor traces of age.
Studienstiftung Horst Antes (ed.), Horst Antes, Werkverzeichnis der Gemälde, vol.1, Künzelsau 2020, cat.rais.no. 1964-36
Provenance
Private collection, Italy; Galerie Brusberg, Berlin; collection Emil Cimiotti, Wolfenbüttel
Exhibitions
Berlin 2007/2008 (Galerie Brusberg), Galerie Brusberg: 49, Das große Finale, Ein Bilderbogen in zwei Teilen, Teil1, Meisterwerke der klassischen Moderne und Kunst der Gegenwart
Iserlohn 2006 (Villa Wessel), Horst Antes, Frühe Arbeiten
Berlin 1988 (Galerie Brusberg), Horst Antes, Bilder und Blätter 1960 bis 1987, exhib.cat., p.13 with colour illius.
Berlin 1984 (Galerie Brusberg), Bilder vom Menschen I, Die expressive Gebärde
Hanover 1968 (Kunstverein), 129. Frühjahrsausstellung, Deutsch Kunst heute, german art today
Venedig 1963 (Centro Internazionale delle Arti e del Costume, Palazzo Grassi), Visione-Colore, Mostra internazionale d'arte contemporanea, exhib.cat., unpag. with colour illius.
In the early 1960s, Horst Antes moves from gestural abstraction to a figurative pictorial language. In his drawings and paintings from around 1961/62, a figure with an oversized head, superimposed eyes and severely shortened limbs is first revealed through two-dimensional cross-hatching or voluminous colour clouds, and becomes increasingly concise. From now on, nameless, archaic figures with male or female physiognomy populate almost all of Antes' works - the artist has found his pictorial means of expression in which he mirrors himself and his mental state. Over the next few years, he further develops the figure into his characteristic cephalopod with a uniformly pronounced, angular facial profile which, from the end of the 1960s, would command the whole surface of the paintings.
In contrast, the early figures are not the sole protagonists in the pictures - they are usually embedded in a multi-layered, narrative environment. The present work “Mit Figur”, in an unusual portrait format, places a male figure at the centre of an industrial landscape. In the midst of piles of pipes, struts and metal supports, the figure has a technical rather than organic character with its angular, static physiognomy. However, Antes emphasises the figure with shading and gives it a certain plasticity, the hand raised in greeting and the slightly opened mouth giving it personality. The small steam cloud above and the orange-red liquid flowing out of the pipe in front are the only other organic pictorial elements, but which are simultaneously components of the industrial processing operations that take place in this installation. Industry and technology seem to have been of particular interest to the artist at the time the picture was created - pipes and riveted metal supports are motifs which can also be found in other contemporaneous works.
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