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This spring across Geneva, New York, Southampton and Zurich we present highlights from our 20th Century & Contemporary Art Evening & Day Sales in London.
\n
\nSouthampton
\n26 - 30 May
\nOpening Hours: 11:00am - 6:00pm southampton@phillips.com
\n
\nZurich
\n10 - 12 June
\nOpening Hours: 10:00am - 6:00pm
\npkurath@phillips.com
\n
\nLondon
\n22 - 30 June
\nOpening Hours:
\nMonday-Saturday 10:00am - 6:00pm
\nSunday 12:00pm - 6:00pm
\nClientServicesLondon@phillips.com

\n","auctionDetailsSmall","London Auction 29 June 2022","extraInfo","

\n\n

Specialist, Associate Director, Head of Day Sale, 20th Century & Contemporary Art
\n+44 20 7318 4084

\n\n

stovey@phillips.com

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Urs Fischer, Iron, 2015. 20th Century & Contemporary Art London.

\n\n

Tackling themes of perception and representation with characteristically sardonic wit, Urs Fischer’s 2015 painting Iron is an example of the artist’s use of distortion to subvert established modes of self-portraiture in art history. The monumental work takes Fischer’s own face as a starting point, as passages of rippling fleshy pinks, sky blues, and stormy grays chase each other across the surface. Fischer harnesses the techniques enabled by his multidisciplinary practice in photography and silkscreen to both represent and obscure his own likeness.

\n\n

Fischer’s self-portrait is made defiantly permanent by pushing the notional subject to its limit. The artist asserts a physical presence and place in art history through its huge scale and hefty aluminium support. Fischer is known for merging boundaries; the substantialness of the support allows the painting to move between the realms into sculpture. “The way I see it,” he notes, “my paintings are more like sculptures. I see them as objects on the wall that have a particular surface. The paint applied is just one possible layer.” Working on top of an enlarged photograph rotated 90 degrees, the artist’s fragmented face is barely permissible through the layers of silkscreen, ink, acrylic paint, gesso, and primer that encircle elements of his face, such as the eye, eyebrow and nose.

\n\n

Iron belongs to a small series of works from 2015 in which Fischer expands a syncretic approach to traditional forms with mutative characteristics. In these works, Fischer draws on his early studies of photography as a young artist at Schule für Gestaltung in Zürich. Rather than limiting his scope to straightforward engagement or critique, however, Fischer instead uses a swarm of materials and modes to create an assemblage that brings dark humor to a deliberately uncanny malformation of the human face. A self-proclaimed student of art history, Fischer references the collage techniques of Pablo Picasso and George Braque, as well as Surrealist master René Magritte’s practice of covering his subjects’ faces with everyday objects, thus concealing their identity.

\n\n

\n\n

Urs Fischer, Magnesium, 2015. Sold for $693,000 at Phillips' 20th Century & Contemporary Art New York Day Sale on 19 May 2022.

\n\n

Fischer’s use of material presence and immaterial concepts is further given dimension by its conversational quality, a practice he shares with friend and fellow installation artist Rudolf Stingel. By engaging the viewer to question their perception of a work, a dialogue forms between not only the viewer and the artist, but also with the work itself as an intermediary. How one takes in Iron is less about its abstraction and more to do with how absorbing its ambiguity can lead to different outcomes, which, in turn, shows Fischer’s influence from earlier Dada and Situationist movements. His relationship with Stingel is also evident in the use of gray as a utilitarian jumping-off point from which color springs to life, even in its most diffuse forms.

\n\n

Fischer has built his celebrated reputation on his longstanding investigational approach, exploring opportunities to contrast opposite phenomena through an array of media, from sculpture and installation, to drawing, painting, photography, printmaking, and digital montage.The details of materials used in his work are scrupulously documented and scientifically noted in the artist’s own cataloguing. Evidenced in Iron, Fischer creates what appears to be an enormous abstraction, but is in fact a self-portrait; heavily impasto in appearance, it is in reality almost flat; the density of the pigment is countered by the delicate patterning of the silkscreen technique.

\n\n

The subject of the human figure and self-portraiture placed alongside the notions of time and decay have been consistent sources of inspiration for Fischer. The theme has been at the core of his figurative wax works since 2001, and the artist often augments his forms through melting, fragmentation, decapitation, and penetration. As the melting candle distorts and dissolves the likeness of the wax sculptures over time, here Fischer uses brushstrokes to distort a previously recognizable image of his own face.

\n\n

Urs Fischer is currently the subject of his celebrated solo exhibition Urs Fischer: Lovers at Museo Jumex, Mexico City, through 18 September 2022.

\n\n

Discover More from 20th Century & Contemporary Art >

\n\n

Recommended Reading

\n\n

A New Generation of British Women Artists >

\n\n

Ex Machina: A History of Generative Art >

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Nadia Léger, Biot, Alpes-Maritimes\r\nDaniel-Henry Kahnweiler, Paris \r\nMrs Henry Walker, Jr. Evansville, Indiana\r\nR.S. Johnson International Gallery, Chicago\r\nAcquired from the above by the present owner in 1977","exhibited","Chicago, International Galleries, Fernand Léger (1881-1955) Retrospective Exhibition, November- December 1966. no 53, p.66 (illustrated, p.47)","mainImagePath","https://dist.phillips.com/auction-assets/UK010522/171238_001.jpg","estimateSymbols",[500,501],"enhancedLotComponents",[485],"conditionReport","The work is framed under glass in a silver frame, presented in a window mount. The work undulates slightly, visible on close inspection. The paper is adhered to the backing board at the upper corners. 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'Colour is a vital necessity. It is a raw material indispensable to life, like water and fire.' —Fernand Léger

\n\n

Immersing the viewer in his colourful and enigmatic world, Fernand Léger’s La partie de campagne was painted in 1953, two years before the end of the artist’s life. It was in the final decade of his career, when Léger returned to France in 1945 from his wartime exile in New York, that he had a renewed interest in landscape, and a desire to integrate groups of figures within outdoor environments. This theme was first explored in a final series of group figure compositions that Léger painted whilst in the United States between 1944-45, titled Les cyclistes. Léger’s intention in these works was for scene to appear like an instinctively posed photograph, influenced by the increasingly popular pastime of amateur photography with the advent of mass-produced, hand-held cameras. In 1951, Léger painted L'équipe au repos and from this picture he derived the landscape elements for his seminal series, La partie de campagne, which he worked on from 1952 to 1954.

\n\n

The stark characteristics developed from these latter series is exemplified in La partie de campagne. The bold application of red, yellow and blue in the present work are employed freely across the paper in a simultaneously geometric and undulating style. The implementation of simple block colours is reminiscent of Piet Mondrian’s De Stijl movement which influenced Léger and impacted his artistic practice. Whilst Léger and Mondrian shared their passion for mechanisation, Léger could not abandon figuration for long and simultaneously let vehicles and machines be a source of inspiration for his work. Amongst the timeless landscape of La partie de campagne, the artist places the scene firmly in the 20th Century with a stylish motorcar on the left-hand side of the painting.

\n\n

\"Piet — Piet Mondrian, *Composition with large red plane, yellow, black, gray and blue*, 1921, Haags Gementemuseum, The Hague. Image: © Kunstmuseum den Haag / Bridgeman Images

\n\n

Taking inspiration from the Impressionists, Léger enjoyed watching the world around him and absorbing the rhythm of modern life, proclaiming that ‘a slice of life seen from a cafe terrace is a spectacle.’ⁱ The present example has close associations with Édouard Manet’s famously scandalous painting of 1863, Déjeuner sur l’herbe. Léger echoes the well-dressed male, and the nude bathing women in his work, paying ode to Manet.

\n\n

\"Edouard — Edouard Manet, *Le déjeuner sur l'herbe (Luncheon on the Grass)*, 1863, Musee d’Orsay, Paris. Image: Scala, Florence

\n\n

Léger held socialist values close to his heart and firmly believed that art should be for everyone, having joined the communist party in 1945. As one of the first artists to use consumer society as subject matter, he took great pleasure in depicting workers, machinery and scenes of leisure. La partie de campagne highlights the new opportunities for the working class facilitated by modern technology and the introduction of holiday pay in 1936.

\n\n

Throughout his career, Léger experimented with a variety of media including film, set design, murals and posters to achieve what he perceived as the primary purpose of art- that it should be everyone. He advocated for museums to remain open into the evening so people could visit after work. These values translated through to his subject matter which was instantly appealing to all social classes. By flattening objects and using bold block colours, he pre-empts the pop art movement of the 1960s.

\n\n

'It is not the beauty of the thing one paints which counts, but the pictorial means by which the object is recreated.'
\n—Fernand Léger

\n\n

La partie de campagne is an exquisite example that retains the geometric, cylindrical qualities of Léger’s earlier work whilst allowing his artistic maturity to emanate. The impactful legacy left by Fernand Léger can be seen directly through the artists he taught. Prominent artists he trained include Louise Bourgeois, Saloua Raouda Choucair, William Klein, Tarsila Do Amaral and Marlow Moss.

\n\n

Whilst experimenting with a multitude of avant-garde styles including Cubism, Futurism and De Stijl, Léger remained a true individualist, formulating a distinctive style throughout his five-decade-long career. His life and work have been celebrated with numerous major retrospective exhibitions around the world most recently at the Tate Liverpool in 2018; Centre Pompidou – Metz in 2017; the Philadelphia Museum of Art, 2014 and in 1988 at the Museum of Modern Art, New York.

\n\n

ⁱ Fernand Léger, quoted in Edward F. Fry , ed., Functions of Painting, New York, 1973. p 35

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163

Fernand Léger

La partie de campagne

Further Details

Full-Cataloguing

Fernand Léger