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Asger JornMorgenrødt (Dawn)Öl auf Leinwand 65 x 81 cm. Gerahmt. Signiert 'Jorn'. Rückseitig auf

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Asger JornMorgenrødt (Dawn)Öl auf Leinwand 65 x 81 cm. Gerahmt. Signiert 'Jorn'. Rückseitig auf
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Asger Jorn
Morgenrødt (Dawn)

Öl auf Leinwand 65 x 81 cm. Gerahmt. Signiert 'Jorn'. Rückseitig auf der Leinwand signiert und datiert 'Jorn 60' sowie auf dem Keilrahmen betitelt 'MORGENRØDT'. - Mit leichten Altersspuren.

Guy Atkins, Asger Jorn, The crucial years, 1954–1964, London 1977, WVZ-Nr. 1262

Die vorliegende Arbeit ist im Archiv des Museum Jorn, Silkeborg, registriert.

Provenienz
Galerie Birch, Kopenhagen (mit rückseitigen Stempeln); Christie's, London, 23.10.1997, Lot 14 (mit rückseitigem Aufkleber und handschriftlichem Vermerk); Galerie Michael Haas, Berlin (mit rückseitigem Aufkleber); Privatsammlung, Bayern

1950 schreibt Asger Jorn an seinen niederländischen Malerkollegen und COBRA-Weggefährten Constant: „In Märchen und Mythen spricht man von Ungeheuern, von fantastischen Tieren und Zeichen. Das sind stets Symbole, die die Menschen sich von realen Phänomenen gemacht haben … die Volkskunst ist stets fantastisch und symbolisch […] Es erscheint mir so, als müsste die ganze pflanzliche und tierische Welt des Symbolismus völlig rekonstruiert werden … Man kann nur zur Wahrheit kommen, indem man seine Fantasie für die unglaubwürdigsten Bilder wie die von Bosch und Breughel einsetzt, aber dann in einer bildnerischen Sprache wie bei den alten Indianern, Wikingern, Primitiven und nicht in einer surrealistisch-naturalistischen Sprache.“ (Asger Jorn, zit. nach: COBRA 1948-51, Ausst.Kat. Kunstverein Hamburg 1982, S.138)
Eine archaische Bildsprache, die der Künstler hier einfordert, setzt er auch in dem hier vorgestellten, zehn Jahre später entstandenen Gemälde ein. Der Titel „Morgenrødt (Dawn)“ gibt eine Thematik vor, die sich durchaus in den orangefarbenen Strahlen der rechten oberen Bildecke und in dem vielfach verwendeten glutroten Kolorit wiederfinden läßt. Darüber hinaus bleibt die Komposition vielfältig lesbar. Eine aufgewühlte, abstrahierte Landschaft erscheint ebenso möglich wie der erhobene Kopf eines Tieres. Jorn widmet sich in seinen Werken dem Mysteriösen und Unbekannten, er strebt eine Uneindeutigkeit an, die sich nicht auflösen lässt. Dazu lässt er dem Zufall während des Malprozesses breiten Raum. Das Zufällige bestimmt das Werk in ebensolchem Maße wie das bewusste Bildkonzept, das ihm zugrunde liegt.
Asger Jorn
Morgenrødt (Dawn)

Oil on canvas 65 x 81 cm. Framed. Signed 'Jorn'. Signed and dated 'Jorn 60' verso on canvas and titled 'MORGENRØDT' on stretcher. - Minor traces of age.

Guy Atkins, Asger Jorn, The crucial years, 1954–1964, London 1977, cat.rais.no. 1262

This work is registered in the archives of the Museum Jorn, Silkeborg.

Provenance
Galerie Birch, Copenhagen (stamps verso); Christie's, London, 23.10.1997, Lot 14 (label verso); Galerie Michael Haas, Berlin (label verso); private collection, Bavaria

In 1950, Asger Jorn wrote to his Dutch painting colleague and COBRA companion Constant: “In fables and myths, one talks of monsters, of fantastical animals and signs. These are always symbols that people have made from real phenomena … folk art is always fantastic and symbolic […] It seems to me therefore as if the whole plant and animal world of symbolism should be completely reconstructed … One can only reach the truth by using one's fantasy for the most unbelievable pictures like those of Bosch and Breughel, but then in a pictorial language like the old Indians, Vikings, primitives and not in a surrealist-naturalistic language.” (Asger Jorn, quoted from: COBRA 1948-51, exhib.cat. Kunstverein Hamburg 1982, p.138)
An archaic pictorial language which the artist claims here is also deployed in the present work, painted ten years later. The title “Morgenrødt (Dawn)” suggests a theme that can certainly be found in the orange-coloured rays at the upper right corner of the picture and in the frequently used fiery red colouring. Furthermore, the composition remains manifoldly legible. A churned up, abstracted landscape appears just as possible as the raised head of an animal. In his works, Jorn dedicates himself to the mysterious and unknown, he strives for an ambiguity which cannot be resolved. In addition, he leaves plenty of room for chance in the painting process. Chance determines the work to the same extent as the conscious pictorial concept which underlies it.

Asger Jorn
Morgenrødt (Dawn)

Öl auf Leinwand 65 x 81 cm. Gerahmt. Signiert 'Jorn'. Rückseitig auf der Leinwand signiert und datiert 'Jorn 60' sowie auf dem Keilrahmen betitelt 'MORGENRØDT'. - Mit leichten Altersspuren.

Guy Atkins, Asger Jorn, The crucial years, 1954–1964, London 1977, WVZ-Nr. 1262

Die vorliegende Arbeit ist im Archiv des Museum Jorn, Silkeborg, registriert.

Provenienz
Galerie Birch, Kopenhagen (mit rückseitigen Stempeln); Christie's, London, 23.10.1997, Lot 14 (mit rückseitigem Aufkleber und handschriftlichem Vermerk); Galerie Michael Haas, Berlin (mit rückseitigem Aufkleber); Privatsammlung, Bayern

1950 schreibt Asger Jorn an seinen niederländischen Malerkollegen und COBRA-Weggefährten Constant: „In Märchen und Mythen spricht man von Ungeheuern, von fantastischen Tieren und Zeichen. Das sind stets Symbole, die die Menschen sich von realen Phänomenen gemacht haben … die Volkskunst ist stets fantastisch und symbolisch […] Es erscheint mir so, als müsste die ganze pflanzliche und tierische Welt des Symbolismus völlig rekonstruiert werden … Man kann nur zur Wahrheit kommen, indem man seine Fantasie für die unglaubwürdigsten Bilder wie die von Bosch und Breughel einsetzt, aber dann in einer bildnerischen Sprache wie bei den alten Indianern, Wikingern, Primitiven und nicht in einer surrealistisch-naturalistischen Sprache.“ (Asger Jorn, zit. nach: COBRA 1948-51, Ausst.Kat. Kunstverein Hamburg 1982, S.138)
Eine archaische Bildsprache, die der Künstler hier einfordert, setzt er auch in dem hier vorgestellten, zehn Jahre später entstandenen Gemälde ein. Der Titel „Morgenrødt (Dawn)“ gibt eine Thematik vor, die sich durchaus in den orangefarbenen Strahlen der rechten oberen Bildecke und in dem vielfach verwendeten glutroten Kolorit wiederfinden läßt. Darüber hinaus bleibt die Komposition vielfältig lesbar. Eine aufgewühlte, abstrahierte Landschaft erscheint ebenso möglich wie der erhobene Kopf eines Tieres. Jorn widmet sich in seinen Werken dem Mysteriösen und Unbekannten, er strebt eine Uneindeutigkeit an, die sich nicht auflösen lässt. Dazu lässt er dem Zufall während des Malprozesses breiten Raum. Das Zufällige bestimmt das Werk in ebensolchem Maße wie das bewusste Bildkonzept, das ihm zugrunde liegt.
Asger Jorn
Morgenrødt (Dawn)

Oil on canvas 65 x 81 cm. Framed. Signed 'Jorn'. Signed and dated 'Jorn 60' verso on canvas and titled 'MORGENRØDT' on stretcher. - Minor traces of age.

Guy Atkins, Asger Jorn, The crucial years, 1954–1964, London 1977, cat.rais.no. 1262

This work is registered in the archives of the Museum Jorn, Silkeborg.

Provenance
Galerie Birch, Copenhagen (stamps verso); Christie's, London, 23.10.1997, Lot 14 (label verso); Galerie Michael Haas, Berlin (label verso); private collection, Bavaria

In 1950, Asger Jorn wrote to his Dutch painting colleague and COBRA companion Constant: “In fables and myths, one talks of monsters, of fantastical animals and signs. These are always symbols that people have made from real phenomena … folk art is always fantastic and symbolic […] It seems to me therefore as if the whole plant and animal world of symbolism should be completely reconstructed … One can only reach the truth by using one's fantasy for the most unbelievable pictures like those of Bosch and Breughel, but then in a pictorial language like the old Indians, Vikings, primitives and not in a surrealist-naturalistic language.” (Asger Jorn, quoted from: COBRA 1948-51, exhib.cat. Kunstverein Hamburg 1982, p.138)
An archaic pictorial language which the artist claims here is also deployed in the present work, painted ten years later. The title “Morgenrødt (Dawn)” suggests a theme that can certainly be found in the orange-coloured rays at the upper right corner of the picture and in the frequently used fiery red colouring. Furthermore, the composition remains manifoldly legible. A churned up, abstracted landscape appears just as possible as the raised head of an animal. In his works, Jorn dedicates himself to the mysterious and unknown, he strives for an ambiguity which cannot be resolved. In addition, he leaves plenty of room for chance in the painting process. Chance determines the work to the same extent as the conscious pictorial concept which underlies it.

Moderne und Zeitgenössische Kunst - Evening Sale

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Köln
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Germany

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Wichtige Informationen

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1. The art auction house, Kunsthaus Lempertz KG (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.

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Takuro Ito, Kilian Jay von Seldeneck, auctioneers

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