Red and Green Composition

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  • Condition Report

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  • Provenance

    Luhring Augustine, New York
    Acquired from the above by the present owner in 2006

  • Exhibited

    New York, Luhring Augustine, George Condo: Existential Portraits, 5 May - 3 June 2006, p. 119 (illustrated)
    New York, Mary Boone Gallery, Paintings: Nina Chanel Abney, Derrick Adams, Math Bass, Ross Bleckner, Francesco Clemente, George Condo, Will Cotton, Elizabeth Neel, Peter Saul, Julia Wachtel, 2 November - 21 December 2018

  • Catalogue Essay

    A quintessential example of George Condo’s singular and iconic approach to portraiture, Red and Green Composition belongs to the handful of paintings from the artist’s seminal Existential Portraits series that tackle the grand tradition of the nude. At the same time, it explores the visual cross section of mental states, with its tense, psychological flair in its use of jarring colours of complementary reds and greens. Painting entirely from his imagination and art historical memory, Condo synthesises influences ranging from Old Master painting to Cubism with a sensibility informed by popular culture, to construct a character that is “seductive and repulsive,” “frightening and appealing” all at once (R. Rugoff, “The Enigma of Jean Louis: Interview 14 March 2006”, in George Condo: Existential Portraits: Sculpture, Drawings, Paintings 2005/2006, exh. cat., Luhring Augustine, New York, 2006, pp. 8-9). True to Condo’s penchant for exaggeration and distortion, however, the woman’s face has been transformed into a twisted dichotomy featuring a phantom-like mask in monstrous green with menacing fangs and bulging eyes that meets our scrutiny with a confrontational gaze. The contrast between the Jekyll and Hyde-like expression of an animal-like snarl and mischievous smirk is an example of Condo’s ability to depict that which ‘goes between a scream and a smile.’ (George Condo, quoted in Ossian Ward, ‘George Condo: Interview’, Time Out, 6 Feb 2007, online). In its palpable psychological intensity, Red and Green Composition is exemplary of Condo’s approach to portraiture as a type of “Psychological Cubism”. Just like Picasso embraced multiple viewpoints in his cubist portraits of his muses, Condo incorporates a multitude of extreme mental vicissitudes.

    The majority of the image is made up of a velvety ruby-red ground that would feel at home in the portraits of Diego Velázquez or the psychologically dense images of Francis Bacon. The impudent bust sits up against a blue and white striped object that resembles a beach chair. “My painting is all about this interchangeability of languages in art,” Condo notes, “where one second you might feel the background has the shading and tonalities you would see in a Rembrandt portrait, but the subject is completely different and painted like some low-culture, transgressive mutation of a comic strip” (George Condo, quoted in J. Belcove, “George Condo interview”, in Financial Times, 21 April 2013).

    The theme of the reclining nude represents a key recurring motif in Condo’s oeuvre since the artist’s emergence as a figurative painter on the New York art scene nearly four decades ago. Having explored the subject matter in the late 1980s and early 1990s vis-à-vis Picasso’s nudes, in the mid-2000s Condo revisited the genre with a handful of paintings that took as their point of departure Francisco Goya’s La Maja desnuda, 1795-1800, and Édouard Manet’s Olympia, 1863. Both paintings radically subverted the conventions of a genre that advocated classical ideals of nudity – a nude woman within a contemporary setting whose defiant stare and straightforward gaze confronted the viewer. Showcasing both Condo’s remarkable draughtsmanship and virtuoso handling of paint, Red and Green Composition is exceptional in Condo’s oeuvre for the way in which it explicitly addresses the loaded history of the gaze through the nude; the female nude appears to reclaim her agency by challenging the voyeuristic impulse in our looking, and set the foundation for the artist’s celebrated Drawing Paintings from 2011 and 2012.

    Condo has used Old Master techniques and subject matter to create an image that is at once timeless and contemporary, masterfully allowing the viewer to step beyond aesthetic comfort zones and embrace the honest liberality of this new style of portraiture. Above all it is Condo’s ability to capture the spectrum of human emotions, psychological states and the existential plight of humanity, which has made him one of the most revered painters of his generation.

  • Catalogue Essay

    此幅《紅綠構圖》(2006年作)是喬治·康多對肖像畫最奇特,並最具標誌性的經典範例,屬於藝術家著手古典題材裸女的「存在主義肖像」重要系列之量少質精的畫作之一。作品亦通過衝突對立的紅與綠帶來的張力和心理效果,探索精神狀態的視覺橫切面。康多的繪畫完全來自其想像力和腦子裡的藝術史,混合截然不同的靈感來源,包括古典油畫、立體派和對流行文化的感知,建立出同時擁有「誘人與反感」、「可怕與動人」的角色。(R.Rugoff,〈簡.路易斯之謎: 訪談〉, 2006年3月14日,《喬治·康多:存在主義肖像:雕塑、素描、油畫 2005/2006》,展覽圖錄,Luhring Augustine 畫廊,紐約,2006年,第8-9頁。)作品保持了康多對誇張和扭曲的追求,但女子的臉龐已經被改造成扭曲的分裂狀態,綠色怪異如鬼魂的面具,露出恐怖利牙,突出的雙眼直視觀者的目光。有著「變身怪醫黑傑克」般對立的表情,一邊是如猛獸的咆哮,一邊是惡作劇般的嬉笑,突出了康多所呈現的「介乎尖叫與微笑之間」(喬治·康多,錄於 Ossian Ward,〈喬治康多:訪談〉,《Time Out》,2007年2月6日,網路文章)的才能。《紅綠構圖》的心理張力清晰可觸,是康多視肖像為「精神病立體派」的典範之作。與畢加索在其立體派繆斯肖像中採取的多種視角手法同理,康多在畫面融入了多種極端的心理變幻狀態。

    畫面大部分由光滑的深紅色背景構成,令人想起迪亞哥·維拉斯蓋斯的肖像,或是弗朗西斯·培根筆下充滿內心張力的畫面。畫中人放肆地坐在一個像沙灘椅般的藍白條紋物件前。「我的畫作是藝術語言的交換互動,」康多詮釋道,「前一秒你可能會覺得背景有林布蘭肖像中的色調和明暗處理,但畫中人卻完全不同,像是一個來自連環畫的低俗變種。」(喬治·康多,錄於 J. Belcove,<喬治·康多訪談>,《金融時報》,2013年4月21日)

    自近四十年前,康多在紐約藝術界以具象畫家身份成名後,側臥裸女的主題就在其作品中反復出現,於1980年代後期和1990年代初針對畢加索的裸體像進行創作。到了2000年代中,康多又回到這個主題,創作了一系列建基於弗朗西斯科·戈雅的《裸體的瑪哈》(1975-1800年)和愛德華·馬奈《奧林匹亞》(1863年)的作品。兩幅畫作都徹底推翻了一個主題類型的慣例常規,不再推崇古典理想化的裸體,在當代背景下的裸女大膽地直視觀者目光。《紅綠構圖》彰顯了藝術家精湛的構圖和對顏料的絕妙掌控,更直白地通過裸體向「注視」的歷史和故事對話,裸女似乎在挑戰觀者窺視的念頭,重奪自己的主動權,並為藝術家2011至2012年備受讚譽的「素描油畫」奠定基礎。

    康多採納了古典油畫技法和繪畫對象,創造出既永恆又有當代感的畫面,讓觀者走出美學的舒適區,擁抱這種新風格肖像的坦誠自由。另外,康多捕捉到人性情感、心理狀態和人類現實境況,使他成為一代最備受崇敬的畫家之一。

  • Artist Bio

    George Condo

    American • 1957

    Picasso once said, "Good artists borrow, great artists steal." Indeed, American artist George Condo frequently cites Picasso as an explicit source in his contemporary cubist compositions and joyous use of paint. Condo is known for neo-Modernist compositions staked in wit and the grotesque, which draw the eye into a highly imaginary world. 

    Condo came up in the New York art world at a time when art favored brazen innuendo and shock. Student to Warhol, best friend to Basquiat and collaborator with William S. Burroughs, Condo tracked a different path. He was drawn to the endless inquiries posed by the aesthetics and formal considerations of Caravaggio, Rembrandt and the Old Masters.

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Property from a Distinguished Private New York Collection

Red and Green Composition

2006
signed and dated 'Condo 06' on the reverse
oil on canvas
157.5 x 136.5 cm. (62 x 53 3/4 in.)
Painted in 2006.

Estimate
HK$4,000,000 - 6,000,000 
€456,000-684,000
$513,000-769,000

Place Advance Bid

Contact Specialist
Isaure de Viel Castel
Head of Department, 20th Century & Contemporary Art

20th Century & Contemporary Art Evening Sale

Hong Kong Auction 26 May 2019