71a
Max ErnstLe Gulf StreamÖl auf Holz 32,5 x 41 cm Gerahmt. Unten rechts gelb signiert 'max ernst'
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Max Ernst
Le Gulf Stream
Öl auf Holz 32,5 x 41 cm Gerahmt. Unten rechts gelb signiert 'max ernst' und rückseitig orangefarben signiert und betitelt 'MAX Ernst "Le gulf StReam"'. - Vereinzelte Frühschwundrisse, teils unauffällig mit Retuschen geschlossen.
Spies/Metken 3054
Wir danken Jürgen Pech, Max Ernst-Museum Brühl, für bestätigende und ergänzende Auskünfte.
Provenienz
Carlo Cardazzo, Galleria d'Arte del Naviglio, Venedig/Milano 1961 (mit rückseitigem zweifach gestempelten Etikett, hier "1927" datiert); Finarte, Mailand, Auktion 11. Juni 1985, Lot 208; Finarte, Mailand, 14. Dezember 1988, Lot 220; Privatsammlung Mailand (bis 1999); Privatbesitz; Christie's, London, Auktion Impressionist and Modern Art 28. Februar 2019, lot 475
Ausstellungen
Turin 1961 (Galleria Civica d'Arte Moderna), La pittura moderna straniera nelle collezioni private italiane, Kat. Nr. 70 mit Abb. (hier "1927" datiert, mit rückseitigem Aufkleber); Turin 1996 (Galleria Biasutti), Max Ernst, S. 26 f. mit Abb.; Mailand 1996/1997 (Galleria del Credito Valtellinese), Max Ernst - da collezioni francesi e italiane; Arezzo 2004 (Museo Civico d'Arte Moderna e Contemporanea), Da Picasso a Botero, Capolavori dell'arte del Novecento, 2004, S. 149; Brühl 2006 (Max Ernst Museum), 1. März bis 30. September o. Kat. (mit rückseitigem Etikett)
In den 1950er Jahren finden sich bei Max Ernst eine Reihe von Arbeiten, deren Titel auf das Medium Wasser referieren, etwa auf Ozeane, Flüsse oder wie in unserem Werk den Golfstrom. Tatsächlich mag die vorliegende Komposition Assoziationen an einen Blick in die unbekannte Welt der Tiefsee wecken. Malerisch beindruckt sie zuvorderst durch die feinfühlige Kontrastierung von warmen organisch anmutenden Farbmustern in einem kühlen, lichtlosen Raum. Der Künstler gelangt hier zu eindrucksvoll flirrenden Transparenzen, deren zartes Leuchten in einen offenen Dialog mit den sie umgebenden Schatten tritt. Kompositionell ist unser Stück Max Ernsts Werken der späteren 1920er Jahre nicht unähnlich, wobei der Künstler die für sein Schaffen so wichtigen Mittel der Grattage und Frottage im Verlauf der Jahre sensibel ausdifferenzieren und entwickeln konnte.
Die besondere Kombination von technischem Experiment und sinnlicher Empfindung in Max Ernsts Spätwerk hebt auch Werner Spies hervor: „Der Sensualismus der transparenten Farben und Strukturen läßt sich nun offensichtlich auf dem Hintergrund der Malerei der Nachkriegszeit leichter fassen. Nach den düsteren, prononciert pessimistischen Arbeiten, die in den Kriegsjahren entstanden, mußten diese neuen Bilder, in denen die dunklen Schlierenformen einer Darstellung von Farb- und Formbeziehungen Platz machen, die Vorstellung vom Werk verändern. Hatte sich das Interesse der Vorkriegszeit vor allem auf den Ikonographen Max Ernst konzentriert, auf den Erfinder einer verschlüsselten Bildwelt, so rückt nun gewissermaßen der unerhört erfinderische ‚Techniker' stärker ins Bewußtsein. Doch wenn wir genauer hinschauen, sehen wir, daß diese ‚informelle Qualität', die man nun bei ihm zu entdecken beginnt, dem Oeuvre von Anfang an zugehörte.“ (Werner Spies (Hg.), Max Ernst. Retrospektive zum 100. Geburtstag, München 1991, S. 552).
Max Ernst
Le Gulf Stream
Oil on wooden panel 32,5 x 41 cm Framed. Signed 'max ernst' in yellow lower right and verso signed and titled 'MAX Ernst "Le gulf StReam"' in orange. - Occasional early-stage shrinkage of colour, partly inconspicuously closed by retouches.
Spies/Metken 3054
We would like to thank Jürgen Pech, Max Ernst-Museum Brühl, for confirmatory and additional information.
Provenance
Carlo Cardazzo, Galleria d'Arte del Naviglio, Venice/Milan 1961 (label verso, stamped twice, here dated "1927"); Finarte, Milan, Auction 11 June 1985, Lot 208; Finarte, Milan, 14 December 1988, Lot 220; Private collection, Milan (until 1999); Private possession; Christie's, London, Auction Impressionist and Modern Art 28 February 2019, lot 475
Exhibitions
Turin 1961 (Galleria Civica d'Arte Moderna), La pittura moderna straniera nelle collezioni private italiane, cat. no. 70 with illus. (here dated "1927", with label verso); Turin 1996 (Galleria Biasutti), Max Ernst, p. 26 f. with illus.; Milan 1996/1997 (Galleria del Credito Valtellinese), Max Ernst - da collezioni francesi e italiane; Arezzo 2004 (Museo Civico d'Arte Moderna e Contemporanea), Da Picasso a Botero, Capolavori dell'arte del Novecento, 2004, p. 149; Brühl 2006 (Max Ernst Museum), 1 März bis 30 September no cat. (label verso)
In the 1950s the titles of a number of works by Max Ernst refer to the medium of water, for example, to oceans, rivers or, as in the case of our work, the Gulf Stream. The present composition may in fact suggest associations with a look inside the unknown world of the deep sea. In terms of painting it is impressive primarily on account of its subtle contrasting of warm, organic-looking patterns of colour within a cool, lightless space. Here the artist has achieved splendidly shimmering transparencies, whose delicate glow enters into an open dialogue with the shadows surrounding them. Compositionally our piece is not dissimilar to Max Ernst's works of the later 1920s, although, over the years, the artist was able to sensitively refine and develop the techniques of grattage and frottage, which were so important for his oeuvre.
The distinctive combination of technical experimentation and sensual feeling in Max Ernst's late work has also been emphasised by Werner Spies: “The sensualism of the transparent colours and textures now evidently became easier to grasp before the background of the painting of the postwar period. After the gloomy, pronouncedly pessimistic works created in the war years, these new pictures - in which the dark, streaked forms make room for a depiction of chromatic and formal relationships - had to change the concept of his work. While interest during the pre-war period was concentrated primarily on Max Ernst the iconographer, the inventor of an encoded pictorial world, there was now, in a certain sense, a shift towards a greater awareness of the incredibly inventive 'technician'. However, a closer look reveals that this 'informal quality', which was now starting to be discovered in his work, had belonged to his oeuvre from the very beginning” (Werner Spies (ed.), Max Ernst. Retrospektive zum 100. Geburtstag, Munich 1991, p. 552).
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Max Ernst
Le Gulf Stream
Öl auf Holz 32,5 x 41 cm Gerahmt. Unten rechts gelb signiert 'max ernst' und rückseitig orangefarben signiert und betitelt 'MAX Ernst "Le gulf StReam"'. - Vereinzelte Frühschwundrisse, teils unauffällig mit Retuschen geschlossen.
Spies/Metken 3054
Wir danken Jürgen Pech, Max Ernst-Museum Brühl, für bestätigende und ergänzende Auskünfte.
Provenienz
Carlo Cardazzo, Galleria d'Arte del Naviglio, Venedig/Milano 1961 (mit rückseitigem zweifach gestempelten Etikett, hier "1927" datiert); Finarte, Mailand, Auktion 11. Juni 1985, Lot 208; Finarte, Mailand, 14. Dezember 1988, Lot 220; Privatsammlung Mailand (bis 1999); Privatbesitz; Christie's, London, Auktion Impressionist and Modern Art 28. Februar 2019, lot 475
Ausstellungen
Turin 1961 (Galleria Civica d'Arte Moderna), La pittura moderna straniera nelle collezioni private italiane, Kat. Nr. 70 mit Abb. (hier "1927" datiert, mit rückseitigem Aufkleber); Turin 1996 (Galleria Biasutti), Max Ernst, S. 26 f. mit Abb.; Mailand 1996/1997 (Galleria del Credito Valtellinese), Max Ernst - da collezioni francesi e italiane; Arezzo 2004 (Museo Civico d'Arte Moderna e Contemporanea), Da Picasso a Botero, Capolavori dell'arte del Novecento, 2004, S. 149; Brühl 2006 (Max Ernst Museum), 1. März bis 30. September o. Kat. (mit rückseitigem Etikett)
In den 1950er Jahren finden sich bei Max Ernst eine Reihe von Arbeiten, deren Titel auf das Medium Wasser referieren, etwa auf Ozeane, Flüsse oder wie in unserem Werk den Golfstrom. Tatsächlich mag die vorliegende Komposition Assoziationen an einen Blick in die unbekannte Welt der Tiefsee wecken. Malerisch beindruckt sie zuvorderst durch die feinfühlige Kontrastierung von warmen organisch anmutenden Farbmustern in einem kühlen, lichtlosen Raum. Der Künstler gelangt hier zu eindrucksvoll flirrenden Transparenzen, deren zartes Leuchten in einen offenen Dialog mit den sie umgebenden Schatten tritt. Kompositionell ist unser Stück Max Ernsts Werken der späteren 1920er Jahre nicht unähnlich, wobei der Künstler die für sein Schaffen so wichtigen Mittel der Grattage und Frottage im Verlauf der Jahre sensibel ausdifferenzieren und entwickeln konnte.
Die besondere Kombination von technischem Experiment und sinnlicher Empfindung in Max Ernsts Spätwerk hebt auch Werner Spies hervor: „Der Sensualismus der transparenten Farben und Strukturen läßt sich nun offensichtlich auf dem Hintergrund der Malerei der Nachkriegszeit leichter fassen. Nach den düsteren, prononciert pessimistischen Arbeiten, die in den Kriegsjahren entstanden, mußten diese neuen Bilder, in denen die dunklen Schlierenformen einer Darstellung von Farb- und Formbeziehungen Platz machen, die Vorstellung vom Werk verändern. Hatte sich das Interesse der Vorkriegszeit vor allem auf den Ikonographen Max Ernst konzentriert, auf den Erfinder einer verschlüsselten Bildwelt, so rückt nun gewissermaßen der unerhört erfinderische ‚Techniker' stärker ins Bewußtsein. Doch wenn wir genauer hinschauen, sehen wir, daß diese ‚informelle Qualität', die man nun bei ihm zu entdecken beginnt, dem Oeuvre von Anfang an zugehörte.“ (Werner Spies (Hg.), Max Ernst. Retrospektive zum 100. Geburtstag, München 1991, S. 552).
Max Ernst
Le Gulf Stream
Oil on wooden panel 32,5 x 41 cm Framed. Signed 'max ernst' in yellow lower right and verso signed and titled 'MAX Ernst "Le gulf StReam"' in orange. - Occasional early-stage shrinkage of colour, partly inconspicuously closed by retouches.
Spies/Metken 3054
We would like to thank Jürgen Pech, Max Ernst-Museum Brühl, for confirmatory and additional information.
Provenance
Carlo Cardazzo, Galleria d'Arte del Naviglio, Venice/Milan 1961 (label verso, stamped twice, here dated "1927"); Finarte, Milan, Auction 11 June 1985, Lot 208; Finarte, Milan, 14 December 1988, Lot 220; Private collection, Milan (until 1999); Private possession; Christie's, London, Auction Impressionist and Modern Art 28 February 2019, lot 475
Exhibitions
Turin 1961 (Galleria Civica d'Arte Moderna), La pittura moderna straniera nelle collezioni private italiane, cat. no. 70 with illus. (here dated "1927", with label verso); Turin 1996 (Galleria Biasutti), Max Ernst, p. 26 f. with illus.; Milan 1996/1997 (Galleria del Credito Valtellinese), Max Ernst - da collezioni francesi e italiane; Arezzo 2004 (Museo Civico d'Arte Moderna e Contemporanea), Da Picasso a Botero, Capolavori dell'arte del Novecento, 2004, p. 149; Brühl 2006 (Max Ernst Museum), 1 März bis 30 September no cat. (label verso)
In the 1950s the titles of a number of works by Max Ernst refer to the medium of water, for example, to oceans, rivers or, as in the case of our work, the Gulf Stream. The present composition may in fact suggest associations with a look inside the unknown world of the deep sea. In terms of painting it is impressive primarily on account of its subtle contrasting of warm, organic-looking patterns of colour within a cool, lightless space. Here the artist has achieved splendidly shimmering transparencies, whose delicate glow enters into an open dialogue with the shadows surrounding them. Compositionally our piece is not dissimilar to Max Ernst's works of the later 1920s, although, over the years, the artist was able to sensitively refine and develop the techniques of grattage and frottage, which were so important for his oeuvre.
The distinctive combination of technical experimentation and sensual feeling in Max Ernst's late work has also been emphasised by Werner Spies: “The sensualism of the transparent colours and textures now evidently became easier to grasp before the background of the painting of the postwar period. After the gloomy, pronouncedly pessimistic works created in the war years, these new pictures - in which the dark, streaked forms make room for a depiction of chromatic and formal relationships - had to change the concept of his work. While interest during the pre-war period was concentrated primarily on Max Ernst the iconographer, the inventor of an encoded pictorial world, there was now, in a certain sense, a shift towards a greater awareness of the incredibly inventive 'technician'. However, a closer look reveals that this 'informal quality', which was now starting to be discovered in his work, had belonged to his oeuvre from the very beginning” (Werner Spies (ed.), Max Ernst. Retrospektive zum 100. Geburtstag, Munich 1991, p. 552).
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Takuro Ito, Kilian Jay von Seldeneck, auctioneers
