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  • Provenance

    Acquired directly from the artist in 1963

  • Exhibited

    Berlin, Martin-Gropius-Bau, Deutschlandbilder. Kunst aus einem geteilten Land, 7 September 1997 – 11 January 1998.

  • Literature

    R. Petzinger and B. Rosen, Eva Hesse Catalogue Raisonné, Volume I: Paintings, New York, 2006, pp. 128-129, no. 53 (illustrated)

  • Catalogue Essay

    Lines are so important for Hesse. They frame, divide and join. The early drawings often include linear boundaries – a stylistic tool that Hesse often referred to as ‘windows’. Vertical, horizontal or diagonal, her lines are vital in the constructions of both her paintings and later sculptural works, where they start to form ‘boxes’, containing hybrids of artificial and bodily forms. In the strange and somewhat sustained paintings she executed during the 1960s, her style seems to shift from framing or boxing-in fields to joining them as a whole through line, while asking the question: what is the nature of connection?In all of her works, the artist explored the tensions between order and chaos, rigidity and pliability, geometric and biomorphic form, series and singularity, and continuity and change. Associated with both the conceptual and minimalist movements of the 1960s and 1970s, Hesse’s primary interests lay in the organic, the absurd, and the irrational.

165

Untitled,

1963
Oil on canvas.
91.4 x 91.4 cm. (36 x 36 in).
Signed and dated ‘Eva Hesse 1963’ on the stretcher.

Estimate
£60,000 - 80,000 

Sold for £72,500

Contemporary Art Evening Sale

28 Feb 2008, 7pm
London