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Horst AntesKopf für EmilioAcryl auf Leinwand 90 x 80 cm. Mit Atelierleiste gerahmt. Rückseitig auf
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Beschreibung
Horst Antes
Kopf für Emilio
Acryl auf Leinwand 90 x 80 cm. Mit Atelierleiste gerahmt. Rückseitig auf der Leinwand signiert, datiert und beschriftet 'Antes 1966/67 Porträt' sowie mit Widmung 'für Emil Cimiotti'. - Mit leichten Altersspuren.
Studienstiftung Horst Antes (Hg.), Horst Antes, Werkverzeichnis der Gemälde 1965-1968, Bd.2, Künzelsau 2017, WVZ-Nr. 1967-4 (Werkverzeichnis von Volker Volkens)
Provenienz
Direkt vom Künstler; Sammlung Emil Cimiotti, Wolfenbüttel
Ausstellungen
Iserlohn 2006 (Villa Wessel), Horst Antes, Frühe Arbeiten
Recklinghausen 1983 (Städtische Kunsthalle), Ruhrfestspiele, Wer zeigt sein wahres Gesicht?
New Delhi 1971 (Lalit Kala Akademi), Second Triennale India (mit rückseitigem Aufkleber)
Hannover 1968 (Kunstverein), 129. Frühjahrsausstellung, Deutsche Kunst heute, german art today, Ausst.Kat., S.77 mit Abb.
Die Kopffüßler von Horst Antes sind Menschenzeichen, reduziert auf einige Fragmente des menschlichen Körpers, die der Künstler als besonders wesentlich erachtet. Entweder sind sie auf die alleinige Darstellung des Kopfes reduziert, der grundsätzlich überproportional vergrößert wird, oder noch um Beine und Füße, gelegentlich auch um Arme erweitert. Der Rumpf ist praktisch nie Teil der Darstellung, er wird von Antes als unwichtig vernachlässigt.
„Also nicht das objektive Maß des Menschen, sondern die subjektive Sicht auf das Maßverhältnis des Körpers und seine Funktionen ist von Belang. Ein von Antes erwähnter Vergleich mag hier angeführt werden, in dem er die Dimension des fühlbar kranken Zahnes als Maßverhältnis angibt. Denn weil dieser Zahn schmerzt, ist er viel größer als gewöhnlich. Das Maß der Körperteile wird bestimmt durch die Dimension der ihm zugedachten Funktion. Daher kommt es, dass Augen in Antes' Figuren gleich zweimal auftauchen, Füße oder Nasen besonders groß oder Ohren gar nicht vorhanden sind. Einzelteile des Körpers werden nicht nach den Regeln der Gesetzmäßigkeit zusammengebracht, sondern als Einzelteile bewußtgemacht.“ (Ulrike Lehmann, in: Horst Antes. Druckgraphik, farbige Blätter, Zeichnungen, Collagen und Skulpturen, Ausst.Kat. Sprengel Museum Hannover 1989, S.15).
Geht man von dieser Definition aus, so kann man in dem hier angebotenen „Porträt für Emilio“, dem Bildhauer Emil Cimiotti gewidmet, auf die Suche nach Elementen gehen, die für Antes in diesem Bildnis von besonderer Bedeutung sind. Die überdimensionierte Nase, die den Kopf dominiert, und die doppelten Augen finden sich vielfach bei seinen Kopffüßlern. Auffällig sind Körperteile, die Antes sonst oft vernachlässigt, hier aber explizit mit in den Bildausschnitt aufnimmt: die Hand, die eine Art schwarze Binde seitlich an den Kopf zu pressen scheint, und die Schultern, die das Bildnis zu einem geradezu klassischen Schulterstück erweitern. Ungewöhnlich sind auch die lebhaften Farbtöne, die die Haut als kleine, unregelmäßige Flecken überziehen und einen heiteren Kontrast zu den umgebenden schwarzen Flächen bilden.
Horst Antes
Kopf für Emilio
Acrylic on canvas 90 x 80 cm. Framed in studio frame. Signed, dated and inscribed 'Antes 1966/67 Porträt' and with dedication 'für Emil Cimiotti' verso on canvas. - Minor traces of age.
Studienstiftung Horst Antes (ed.), Horst Antes, Werkverzeichnis der Gemälde 1965-1968, vol.2, Künzelsau 2017, cat.rais.no.1967-4 (catalogue raisonné by Volker Volkens)
Provenance
Directly from the artist; collection Emil Cimiotti, Wolfenbüttel
Exhibitions
Iserlohn 2006 (Villa Wessel), Horst Antes, Frühe Arbeiten
Recklinghausen 1983 (Städtische Kunsthalle), Ruhrfestspiele, Wer zeigt sein wahres Gesicht?
New Delhi 1971 (Lalit Kala Akademi), Second Triennale India (label verso)
Hanover 1968 (Kunstverein), 129. Frühjahrsausstellung, Deutsche Kunst heute, german art today, exhib.cat., p.77 with illus.
The “Kopffüßler” (Head-Footer) by Horst Antes are references to the human body, reduced to those parts that the artist deems essential. They are either reduced to the sole representation of the head, which is invariably disproportionately enlarged, or additionally supplemented by legs, feet, and sometimes arms. The torso is basically never part of the depiction - Antes considers it unimportant.
“So not the objective physical dimensions of the human body are relevant, but the subjective perspective of the dimensional ratio of the human body and its functions. A comparison mentioned by Antes may be quoted here in which he specifies the dimensions of a tangibly aching tooth as the dimensional ratio. When the tooth aches, it is much larger than usual. The dimensions of the body parts are defined by the dimensions of the function intended for it. That is why eyes appear twice in Antes' figures, why feet or noses are particularly large or why there are no ears at all. Individual body parts are not compiled according to any principles of legitimacy, but are set into awareness as individual components.” (Ulrike Lehmann, in: Horst Antes. Druckgraphik, farbige Blätter, Zeichnungen, Collagen und Skulpturen, exhib.cat. Sprengel Museum Hanover 1989, p.15).
Taking this definition as a starting point, one can look out for elements that are of particular importance for Antes in this “Portrait for Emilio” on offer here, dedicated to the sculptor Emil Cimiotti. The disproportionately large nose dominating the head and the doubled eyes are typical of his “Kopffüßler”. Particularly conspicuous are the body parts, usually neglected by Antes, but which, in this case, are explicitly included in the composition: the hand that appears to be pressing a sort of black bandage on the side of the head, and the shoulders that extend the figure to an almost classic head and shoulder portrait. The vivid colours are also unusual. These unregular spots suffuse the skin and form a lively contrast to the surrounding black surfaces.
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Horst Antes
Kopf für Emilio
Acryl auf Leinwand 90 x 80 cm. Mit Atelierleiste gerahmt. Rückseitig auf der Leinwand signiert, datiert und beschriftet 'Antes 1966/67 Porträt' sowie mit Widmung 'für Emil Cimiotti'. - Mit leichten Altersspuren.
Studienstiftung Horst Antes (Hg.), Horst Antes, Werkverzeichnis der Gemälde 1965-1968, Bd.2, Künzelsau 2017, WVZ-Nr. 1967-4 (Werkverzeichnis von Volker Volkens)
Provenienz
Direkt vom Künstler; Sammlung Emil Cimiotti, Wolfenbüttel
Ausstellungen
Iserlohn 2006 (Villa Wessel), Horst Antes, Frühe Arbeiten
Recklinghausen 1983 (Städtische Kunsthalle), Ruhrfestspiele, Wer zeigt sein wahres Gesicht?
New Delhi 1971 (Lalit Kala Akademi), Second Triennale India (mit rückseitigem Aufkleber)
Hannover 1968 (Kunstverein), 129. Frühjahrsausstellung, Deutsche Kunst heute, german art today, Ausst.Kat., S.77 mit Abb.
Die Kopffüßler von Horst Antes sind Menschenzeichen, reduziert auf einige Fragmente des menschlichen Körpers, die der Künstler als besonders wesentlich erachtet. Entweder sind sie auf die alleinige Darstellung des Kopfes reduziert, der grundsätzlich überproportional vergrößert wird, oder noch um Beine und Füße, gelegentlich auch um Arme erweitert. Der Rumpf ist praktisch nie Teil der Darstellung, er wird von Antes als unwichtig vernachlässigt.
„Also nicht das objektive Maß des Menschen, sondern die subjektive Sicht auf das Maßverhältnis des Körpers und seine Funktionen ist von Belang. Ein von Antes erwähnter Vergleich mag hier angeführt werden, in dem er die Dimension des fühlbar kranken Zahnes als Maßverhältnis angibt. Denn weil dieser Zahn schmerzt, ist er viel größer als gewöhnlich. Das Maß der Körperteile wird bestimmt durch die Dimension der ihm zugedachten Funktion. Daher kommt es, dass Augen in Antes' Figuren gleich zweimal auftauchen, Füße oder Nasen besonders groß oder Ohren gar nicht vorhanden sind. Einzelteile des Körpers werden nicht nach den Regeln der Gesetzmäßigkeit zusammengebracht, sondern als Einzelteile bewußtgemacht.“ (Ulrike Lehmann, in: Horst Antes. Druckgraphik, farbige Blätter, Zeichnungen, Collagen und Skulpturen, Ausst.Kat. Sprengel Museum Hannover 1989, S.15).
Geht man von dieser Definition aus, so kann man in dem hier angebotenen „Porträt für Emilio“, dem Bildhauer Emil Cimiotti gewidmet, auf die Suche nach Elementen gehen, die für Antes in diesem Bildnis von besonderer Bedeutung sind. Die überdimensionierte Nase, die den Kopf dominiert, und die doppelten Augen finden sich vielfach bei seinen Kopffüßlern. Auffällig sind Körperteile, die Antes sonst oft vernachlässigt, hier aber explizit mit in den Bildausschnitt aufnimmt: die Hand, die eine Art schwarze Binde seitlich an den Kopf zu pressen scheint, und die Schultern, die das Bildnis zu einem geradezu klassischen Schulterstück erweitern. Ungewöhnlich sind auch die lebhaften Farbtöne, die die Haut als kleine, unregelmäßige Flecken überziehen und einen heiteren Kontrast zu den umgebenden schwarzen Flächen bilden.
Horst Antes
Kopf für Emilio
Acrylic on canvas 90 x 80 cm. Framed in studio frame. Signed, dated and inscribed 'Antes 1966/67 Porträt' and with dedication 'für Emil Cimiotti' verso on canvas. - Minor traces of age.
Studienstiftung Horst Antes (ed.), Horst Antes, Werkverzeichnis der Gemälde 1965-1968, vol.2, Künzelsau 2017, cat.rais.no.1967-4 (catalogue raisonné by Volker Volkens)
Provenance
Directly from the artist; collection Emil Cimiotti, Wolfenbüttel
Exhibitions
Iserlohn 2006 (Villa Wessel), Horst Antes, Frühe Arbeiten
Recklinghausen 1983 (Städtische Kunsthalle), Ruhrfestspiele, Wer zeigt sein wahres Gesicht?
New Delhi 1971 (Lalit Kala Akademi), Second Triennale India (label verso)
Hanover 1968 (Kunstverein), 129. Frühjahrsausstellung, Deutsche Kunst heute, german art today, exhib.cat., p.77 with illus.
The “Kopffüßler” (Head-Footer) by Horst Antes are references to the human body, reduced to those parts that the artist deems essential. They are either reduced to the sole representation of the head, which is invariably disproportionately enlarged, or additionally supplemented by legs, feet, and sometimes arms. The torso is basically never part of the depiction - Antes considers it unimportant.
“So not the objective physical dimensions of the human body are relevant, but the subjective perspective of the dimensional ratio of the human body and its functions. A comparison mentioned by Antes may be quoted here in which he specifies the dimensions of a tangibly aching tooth as the dimensional ratio. When the tooth aches, it is much larger than usual. The dimensions of the body parts are defined by the dimensions of the function intended for it. That is why eyes appear twice in Antes' figures, why feet or noses are particularly large or why there are no ears at all. Individual body parts are not compiled according to any principles of legitimacy, but are set into awareness as individual components.” (Ulrike Lehmann, in: Horst Antes. Druckgraphik, farbige Blätter, Zeichnungen, Collagen und Skulpturen, exhib.cat. Sprengel Museum Hanover 1989, p.15).
Taking this definition as a starting point, one can look out for elements that are of particular importance for Antes in this “Portrait for Emilio” on offer here, dedicated to the sculptor Emil Cimiotti. The disproportionately large nose dominating the head and the doubled eyes are typical of his “Kopffüßler”. Particularly conspicuous are the body parts, usually neglected by Antes, but which, in this case, are explicitly included in the composition: the hand that appears to be pressing a sort of black bandage on the side of the head, and the shoulders that extend the figure to an almost classic head and shoulder portrait. The vivid colours are also unusual. These unregular spots suffuse the skin and form a lively contrast to the surrounding black surfaces.
Moderne und Zeitgenössische Kunst - Evening Sale
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Germany
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Takuro Ito, Kilian Jay von Seldeneck, auctioneers
