Stump Head
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  • In Short

     

    “What’s possible with painting that’s not in real life is you can see two or three sides of a personality at the same time”
    – George Condo
  • Spotlight

    Drawing inspiration from the breadth of the art historical canon—from Jean Auguste Dominique Ingres to Diego Velázquez—George Condo has honed a singular painterly aesthetic. He coined the terms “artificial realism” and “psychological cubism” to describe the postmodern hybridization of myriad art historical references in his works, which, over the past four decades, have manifested as a band of imagined characters who provide a mirror from which the complexities of human nature come into view. His single greatest influence, however, is indisputably Pablo Picasso.  
      

     

    “I don’t want to simply look at Picasso on the wall or read about Picasso… 

     

    Condo studied the modernist’s work as a young painter while living in Paris in the late 1980s and early 1990s, absorbing much of the Cubist master’s syntax—both in technique and in composition. Like Picasso, Condo sought to reinvigorate portraiture through the process of dismantling and putting back together, with the somewhat counterintuitive goal of more accurately—or fully—representing his subject. In Stump Head, Condo pays homage to his artistic idol not only in style and in form—but also in the figure’s striped top, which is most probably a nod to Picasso’s signature Breton shirt. “I don’t want to simply look at Picasso on the wall or read about Picasso,” Condo mused, “I want to actually paint through him, I want to paint into Picasso.”[i]
     
     




















    Pablo Picasso, Le Marin, 1938, Museum Berggruen, Nationalgalerie, Staatliche Museen, Berlin, Photo credit: bpk Bildagentur / Museum Berggruen / Jens Ziehe/ Art Resource, NY, Artwork © 2020 Estate of Pablo Picasso/Artists Rights Society (ARS), New York

    ...I want to actually paint through him, I want to paint into Picasso” – George Condo


    Andy Warhol photographed on the fire escape of The Factory in Manhattan, New York, circa 1965-1967.
     
    As is standard for Condo’s work, however, within Stump Head is an implicit irony and humor. By incorporating the striped shirt, a motif so closely associated with Picasso (and later Andy Warhol), and titling the work Stump Head—a reference to someone who is unskilled or dimwitted—Condo’s homage to his greatest idol is both earnest and playful. It is precisely by poking fun at the canonical parameters of portraiture seen in the present work—such as the traditional three-quarter view, monochromatic backdrop, and monumental scale—that Condo is able to topple them, inviting a new and rigorous interrogation of the potentiality of the traditional genre in the 21st century. 
     
    Whimsical yet crude, Stump Head illustrates the manifold psychological states of Condo’s subject. Donning the artist’s signature distorted features—a bulbous nose, protruding ears, gnarly teeth, and a head that fuses into the body below—Condo’s figure is at once revolting and endearing. “Picasso painted a violin from four different perspectives at one moment. I do the same with psychological states. Four of them can occur simultaneously. Like glimpsing a bus with one passenger howling over a joke they're hearing down the phone, someone else asleep, someone else crying – I'll put them all in one face.”[ii]
     
     
     

    [i] George Condo, quoted in Thomas Kellein, “Interview with George Condo 2004,” George Condo: 100 Women, exh. cat., Museum der Moderne Salzburg, Salzburg, 2005, p. 34.
    [ii] George Condo quoted in Stuart Jeffries, “George Condo: ‘I was delirious. Nearly died,’” The Guardian, February 10, 2014, online.  
    • Provenance

      Luhring Augustine, New York
      Acquired from the above by the present owner in 2010

    • Exhibited

      Moscow, National Centre for Contemporary Arts, Mystifiers, February 12 - March 20, 2016, pp. 15, 40 (illustrated, p. 41; installation view illustrated, pp. 9, 10)

    • Artist Bio

      George Condo

      American • 1957

      Few artists have dedicated their careers as singularly to one genre as George Condo has to that of portraiture. He is drawn to the endless inquiries posed by the aesthetics and formal considerations of Caravaggio, Rembrandt and the Old Masters. Emerging on the New York art scene in the 1980s alongside contemporaries such as Keith Haring and Jean-Michel Basquiat, Condo developed a distinctive visual lexicon that is unmistakably his own. 

      Student to Warhol, friend to Basquiat and collaborator with William S. Burroughs, Condo tracked a different path. The artist frequently cites Picasso as a predominant influence in his contemporary cubist compositions and joyous use of paint. Condo is known for postmodernist compositions staked in wit and the grotesque, which draw the eye into a highly imaginary world. 

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Property from a European Private Collection

Stump Head

signed, titled and dated “Condo 09 Stump Head” on the reverse
oil on canvas
85 x 75 in. (215.9 x 190.5 cm)
Painted in 2009.

Estimate
$900,000 - 1,200,000 

sold for $1,050,000

Contact Specialist

Amanda Lo Iacono
Head of Evening Sale
New York
+1 212 940 1278

20th Century and Contemporary Art Evening Sale

New York Auction 2 July 2020