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Viewing Schedule
\n
\nLondon 22 - 30 June
\nOpening Hours: Monday-Saturday 10:00am - 6:00pm
\nSunday 12:00pm - 6:00pm
\nClientServicesLondon@phillips.com
\n
\nAdmission to this sale is by ticket only. Please email tickets@phillips.com
\n

\n","auctionDetailsSmall","London Auction 30 June 2022","extraInfo","

Kate Bryan
\nHead of Evening Sale
\n+44 7391 402741
\nkbryan@phillips.com

\n\n

Olivia Thornton
\nHead of 20th Century & Contemporary Art, Europe
\n+44 20 7318 4099
\nothornton@phillips.com

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Damien Hirst, Furfuryl Mercaptan, 2004-2011. 20th Century & Contemporary Art London.

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Demonstrating on a grand scale Damien Hirst’s career-spanning interest in color and its organization, Furfuryl Mercaptan strikes a balance between art and science that has proven to be a conceptual touchstone for the artist’s practice. Bridging the sense of order and focus on scientific modes of categorization that we find in his earlier Medicine Cabinets with the exuberant approach to color taken in his Spin Paintings, the grid of 306 evenly spaced and uniquely colored dots are set against a brilliant white ground, perfectly uniform in compositional arrangement. The titles of works from this series were selected at random from the alphabetically arranged catalogue of drug company Sigma-Aldrich’s products that Hirst first stumbled across in the early 1990s. Furfuryl Mercaptan is most often used as a food flavoring agent, characterized by a bitter, coffee-like taste – an appropriate selection given the interplay between the work’s use of color and its conceptual basis of how the eye registers different hues.

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Likened to an array of colored pills, the first spots date from the very outset of Hirst’s career, painted directly onto the wall of the Surrey Docks Warehouse in the final phase of the now legendary Freeze exhibition curated by Hirst as an undergraduate student at Goldsmith’s in 1988. Just as in the innovative Medicine Cabinets which he first embarked on during the same year, Hirst found that he could generate infinitely variable results from imposing certain limitations in terms of the size and color of his forms, their arrangement in relation to one another, and the number of spots, pills, or boxes included in each work. The grid structure of the Spot Paintings allowed for just such a formulaic approach. Arranged with 17 uniformly sized multichromatic spots along the vertical axis and 18 along the horizontal, Furfuryl Mercaptan possesses a striking sense of compositional balance and harmony in an almost pharmaceutical sense. One can easily imagine the television advert to accompany such an image: a chemical imbalance made stable as the previously irregular spots all align into a uniform, stable grid. Speak to your physician today.

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The present work is rendered in mixed hues of household paint – no single color appears twice, and although created methodically by hand, Hirst was interested in the idea of the works appearing to have been executed by a machine, or “by a person trying to paint like a machine.” The colors possess a remarkable mutability when placed next to one another, some appearing to recede while others jump forwards in a manner that creates a sort of observer effect, and further an irony at the heart of the field Hirst examines – that of the idea that no two symptoms or cases are exactly alike, but uniformly, in the attempt to wrangle disparate individuals into a predetermined matrix of wholeness, there is, of course, a pill for that, highlighting what the artist calls a “scientific approach to painting in a similar way to the drug companies’ scientific approach to life. Art doesn’t purport to have all the answers; the drug companies do.”

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Seen within the larger context of Hirst’s oeuvre, the work takes on additional meaning as a continuation of the process which began with the Medicine Cabinets and first spots of his formative years. Hirst has likened these arrangements to the simple geometries, harmony, and seriality of Minimalism, with a developed confidence immediately translated here, where the careful arrangement of colors evokes the clean, sterilized world of the pharmacy as much as the ailing body itself. The rigidity of the grid is offset by a more ineffable, poetic dimension that conflates ideas about medicine, art, and the ephemerality of life, while also borrowing from the colorful and loud use of ordinary shapes by 1960s Pop Art. As Hirst notes: “I once said that the Spot Paintings could be what art looks like viewed through an imaginary microscope,” and through this lens, each spot provides a single breakthrough as it falls in line for within the massive, prophylactic grid.

\n\n

Discover More from 20th Century & Contemporary Art >

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Recommended Reading

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A New Generation of British Women Artists >

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Ex Machina: A History of Generative Art >

\n","publishDate","2022-06-23T20:16:33.000000Z","authorCredit","Arian Murati","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/98615974/damien-hirst-better-living-through-brain-chemistry","displayOrder",2,"auctionEditorialID",1615,"editorialID",3926,"flocklerID",98615974,"https://flockler.com/thumbs/sites/889/showering-14d8a48a-cf2e-46c6-9685-56b06639eab1_s600x0.jpg","Three artists exploring the complexities of the contemporary world with unique practices and exceptionally engaging works. ","A New Generation of British Women Artists ","

Antonia Showering, We Stray, 2020. 20th Century & Contemporary Art London.

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Antonia Showering

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\n
My process is quite transient, in that imagery is constantly shifting, a couple embracing could become a mountain range, figures interlocking could later become the ripples in a lake.
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— Antonia Showering
\n

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Creating rich narrative structures for her paintings to explore, Antonia Showering’s distinctive practice renders tangible the fleeting aspects of memory in compelling ways. With We Stray, the artist presents an idyllic mountain landscape with figures bathing and floating weightlessly across the still waters of a lake, bridging the personal and the universal in its treatment of memory, time, and the deep emotional connections that we forge with both people and places. At play here are the parallels between her practice and the workings of memory itself, the ways in which neither exist individually but are instead composites, added to and overlaid over time to create meaning, as felt impactfully by Showering’s use of the pentimento technique. Her figures can be seen as fading from or emerging into the scene, being remembered or forgotten, and their presence is a constituent element of the work’s fluidity. Like the movement of water, memory takes the shape of its vessel, and Showering’s embrace of the transient unfolds beautifully in the space between the concrete and the ephemeral.

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After completing her MFA at the Slade School of Fine Arts in 2018, Antonia Showering has steadily gained critical attention, appearing in several group exhibitions and selected for a range of awards and residencies including Bloomberg New Contemporaries in 2019, The Great Women Artists Residency at Palazzo Monti, Brescia, in 2018, and the 2018 Henry Tonks Award. Having announced her representation by Timothy Taylor Gallery in 2021, Showering presented her first solo exhibition, Antonia Showering: Mixed Emotion, with the gallery in early 2022.

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Caroline Walker, Afters, 2016. 20th Century & Contemporary Art London.

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Caroline Walker

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\n
[My paintings are] something you have to look through or past to get to the subject of the work […] like a voyeur I suppose, looking in on others’ lives. — Caroline Walker
\n

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Caroline Walker explores women in quiet moments of candid honesty, focusing on domestic or workplace environments and transforming them into studies in contemporary feminine interiority. Often these compositions contrast the unguarded subject with the framing device of their scenes, offering an intimate look at the nested dynamics of gender, labor, belonging, and the unseen human – and predominantly female – element of maintaining order. Strikingly cinematic in its sun-soaked palette and narrative power, Afters captures the tensions between public and private, ambiguity and the everyday that typifies Walker’s practice. Depicting a woman resting across an elegantly curved metal-framed sofa, a stiletto and watermelon slice casually discarded on the floor beside her, the atmosphere is languorous and intimate, Walker capturing a moment of stillness and solitude that falls between the day’s activities. Placing us in the position of the unseen observer, Walker’s awkwardly elevated perspectives and cropped angles create the impression of a fleeting glance or snapshot, as if we are witnessing the moment before the subject awakens and apologizes for sleeping on the couch.

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Walker earned her MA at the Royal College of Art in 2009 has since been the subject of several solo exhibitions internationally, including Janey at Ingleby Gallery, Edinburgh in 2020, Women’s Work at the Midlands Art Centre, Birmingham in 2021, and the forthcoming exhibition at K11 in Shanghai in November 2022. Walker’s latest solo show, Lisa, at Stephen Freidman Gallery presented a deeply intimate series of portraits documenting her sister-in-law’s journey through the first months of motherhood. Her works are included in a number of prominent public collections, including the National Museum of Wales in Cardiff, The UK Government Art Collection, London, and Kunstmuseum in The Hague.

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Flora Yukhnovich, Moi aussi je déborde, 2017. 20th Century & Contemporary Art London.

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Flora Yukhnovich

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\n
There is something corporeal about paint […] the way a painterly gesture can talk about the physical experience of touch in a visceral way, breaking down the distance between the viewer and work.
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—Flora Yukhnovich
\n

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Executed in 2017, the same year as her pivotal graduate show at City & Guilds London School of Art, Moi aussi je déborde is highly expressive of Flora Yukhnovich’s technical skill and immediately recognizable blend of Rococo aesthetics and contemporary cultural references. The work captures an important early moment in the development of her practice, reflecting the artist’s fluid approach to oil painting and conceptual depth as expressed through euphoric lightness. Capturing the fluctuations of the body, Yukhnovich’s gestural brushstrokes and obscured forms revitalize the drama and eroticism of the Rococo with a contemporary concern with contextualizing excess and frivolity on strictly feminist terms. At once celebrating and problematizing art historical representations of femininity, Moi aussi je déborde stages a reclamation of desire from the traditionally male gaze to a joyous recentering of the female perspective as the source of a new mythology. Among the waves of whites, pinks, and lavender tones, the angelic forms render themselves in new, self-determined configurations, recalling the words of Hélène Cixous as the viewer observes these “creatures endowed with the power to put things together and bring them back to life.”

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Following her first solo exhibition with Brocket Gallery, London, which included the present work, Yukhnovich has gone on to exhibit at Parafin, London, GASK, the Gallery of the Central Bohemian Region, Czech Republic, the Jerwood Gallery Hastings, Blenheim Walk Gallery, and Leeds Arts University. Earlier in 2022, the artist presented her first solo exhibition at Victoria Miro in London, and is currently preparing for an exhibition of new works responding to the collection at The Ashmolean, Oxford, to be opened later this year.

\n\n

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\n","2022-06-22T22:24:35.000000Z","https://www.phillips.com/article/98562064/a-new-generation-of-british-women-artists",1614,3923,98562064,"https://flockler.com/thumbs/sites/889/self-409e4562-2cac-455a-8e34-80d9c731e97b_s600x0.jpg","Examining how the material choices of four important women artists impact the composition, presentation, and meaning of their works. ","Source and Subject: Creating in a Material World ","

Tschabalala Self, Carma, 2015. 20th Century & Contemporary Art London.

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Tschabalala Self

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The materials that Tschabalala Self uses are charged with autobiographical importance, including sewn scraps of found textiles, cut up and recombined pieces of her own canvases, and – most poignantly – pieces of patterned fabric that previously belonged to her mother. A seamstress during her lifetime, Self’s mother amassed an enormous collection of patterned fabrics, providing a resource that the artist has turned to after her death. Deftly weaving the personal with the political, Self draws on her own life and the entrenched associations of textiles to women and so-called “women’s work” in order to create highly charged objects that decisively explore today’s attitudes toward race and gender. In this respect, her highly textured paintings recall Faith Ringgold’s painted story quilts, and their powerful combination of personal narratives, politics, and history; Ringgold is an artist Self cites as a particular formative influence growing up in Harlem.

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Carma is a strikingly three-dimensional portrait, one of her few works to incorporate padding in the construction of her subject. Included in Self’s first solo exhibition in the United Kingdom hosted by Parasol Unit in 2017, Carma is a commanding example of the artist’s highly expressive and inventive approach to materials and figuration for which she has become so well known. Combining textiles, acrylic, vinyl paint, and pastel, Self here deconstructs and refashions the Black female body, exposing and amplifying historically entrenched ideas or fantasies related to Black femininity and sexuality that persist in contemporary attitudes. Self frequently returns to the idea of her images as built constructions, encapsulating both the nature of their execution and more complex notions of identity formation. Readymade elements that introduce diverse textures, forms, and colors, Self’s cutting, shaping, and stitching together of fabrics draws profound parallels to the complex intersections of our own histories and sense of selfhood.

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María Berrío, The Riders II, 2012. 20th Century & Contemporary Art London.

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María Berrío

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Advocating a kind of magical thinking akin to the Magical Realist works of Gabriel García Márquez and Isabel Allende, María Berrío’s fusion of narrative, fantasy, and allegory in The Riders II is consistent with the artist’s distinctive mode of worldbuilding, and her creation of utopian spaces populated primarily by female figures who are at once closely connected to nature and capable of transcending this material realm. Berrío’s large-scale collaged canvases offer compellingly beautiful scenes suffused with a sense of magic and musicality, lending them a dream-like quality as ephemeral and delicate as the materials used in their execution. Typical of her artistic process, the variegated surface of The Riders II is built up in layers of carefully cut pieces of delicate handmade and brightly colored Japanese paper, to which the artist has added touches of acrylic, watercolor, and gold leaf, creating a sense of movement and harmony especially well-suited to the present subject.

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As with the processes involved with traditional quilt-making, Berrío’s use of multiple textures and fragments speaks eloquently to ideas around memory, dream, and narrative, and the peculiar way in which her works seem capable of “cutting through time and the unconscious” in a manner that recalls the languid scenes of Henri Rousseau’s exotic canvases. Berrío’s intricate, paper-based works also recall the individuated dots of pure color used to such powerful optical effect in Pointillism. Berrío’s intricate paper patchworks have more recently taken this allusion a step further, her designs reimagined in the fourteen glass, ceramic, and enamel mosaic installations now permanently installed at Fort Hamilton Subway Station, Brooklyn. Layered with colourful patterns and folkloric imagery, in these mosaics Berrío wanted to focus on the idea of the journey itself as a space of infinite possibility, beauty, and magical potential.

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Issy Wood, Not Turned On, 2018. 20th Century & Contemporary Art London.

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Issy Wood

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A playful double entendre referring to the closed, unseeing eyes of the central sculptural figure and a lack of sexual attraction, Not Turned On highlights Issy Wood’s delight in wordplay and an interest in the slipperiness of meaning that extends to her treatment of materials. As in her paintings of leather jackets and car interiors, here Wood generates an intriguing confusion in her use of black paint on a black velvet ground, rendering the likeness of one material onto the surface of another. Wood’s use of stretched velvet manifests an unsettling soft-focus effect when observing the figure head-on, further adding to a body of work focused on decontextualized and enigmatic objects that hover between artifact and kitsch – divorced from any historical and cultural contexts in this way, the carved figure dominating the composition becomes difficult to locate as an object, emphasized by Wood’s inclusion of a layer of floral print intervening between the viewer and the painted figure.

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Born in the 1990s, Wood is a digital native, well-versed in the ubiquitous flow of decontextualized images and information that characterizes the internet age she belongs to. Drawing out the uncanniness of these objects, and their ability to stand in for one another, Not Turned On frustrates our attempts to make the carved object legible as obsidian or hard-polished wood in a manner that recalls the careful balance between revealing and concealing struck in Surrealist master René Magritte’s subtle notion of combined objects, and the slippery exchanges between word and image, sign and signified. Wood reveals the power of material juxtaposition in generating mood and meaning, bringing our attention to the painted surface and the complex variety of associations and sensations that it gives rise to. In this way, Not Turned On reasserts the immediacy and primacy of the painted image in the Digital Age.

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Louise Bourgeois, Couple, 2002 (detail). 20th Century & Contemporary Art London.

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Louise Bourgeois

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Already in her 80s when she embarked on the final chapter of her long and celebrated career, Louise Bourgeois’ return to needles and thread signaled a profound reflection on themes of motherhood, trauma, loss, and repair. Presenting two pink bodies gently pressed against one another, heads inclined into each other’s shoulders as they hang, suspended in space, Couple is a tender portrait of intimacy, a stunning example of her late-career soft sculptures. The perishable pink bodies are evocative reminders of our own vulnerability, in physical as well as emotional terms, speaking powerfully to the visceral desire for touch and closeness. Hanging the embracing couple delicately inside the glass vitrine, Bourgeois amplifies this sensation further, removing the couple from us to float eternally, the only beings in their private universe of two. Weaving its own complex metaphors, while the fragment indicates pain and loss, the suturing together of these different components indicates the capacity for repair, speaking powerfully to our desire for wholeness, both in ourselves and in our romantic partnerships.

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Bourgeois first introduced fabric into her work in 1991 with , the architectural structure that heralded the start of one of her most significant series. Featuring a low metal bed covered in fabric quilted together from old pillow cases and postal bags inside its caged frame, Cell I highlights the indivisibility of the autobiographic from the act of sewing for the artist, the refashioned bedclothes embroidered with phrases from her diaries. Engaged in an endless cycle of weaving and repair, the spider would ultimately become Bourgeois’ most potent and iconic motif after 1994, directly linking ideas of stitching and restoration with the figure of her mother in her series of steel sculptures. As the artist elucidated: “I came from a family of repairers. The spider is a repairer. If you bash into the web of a spider, she doesn’t get mad. She weaves and repairs it.” However, in leaving the seams and sutures visible in Couple, Bourgeois highlights the painful persistence of our emotional scars and exposes the fallacy of the idea self as a self-contained whole.

\n\n

Discover More from 20th Century & Contemporary Art >

\n\n

Recommended Reading

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A New Generation of British Women Artists >

\n\n

Ex Machina: A History of Generative Art >

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'A painting must be both abstract and figurative: abstract to the extent that it is a flat surface, figurative to the extent that it is a representation of space.'
\n—Nicolas de Staël

\n\n

In its careful balance of depth and colour, abstract textures and figurative elements, Marine is powerfully representative of the serenity and quiet vitality that best characterises Nicholas de Staël’s pioneering visual language. Executed in 1954 at the height of his career and just one year before his tragic and untimely death, it captures the remarkable crystallisation of his artistic project, its bold reduction of the constituent parts of a coastal landscape into intersecting planes of sweeping, flatly saturated colour a confident expression of the artistic idiom that has secured his reputation as one of the most important and influential painters working in post-war France.

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Refusing to occupy the position of either abstract or figurative painter absolutely, during this celebrated period de Staël vacillated between these opposing impulses, surprising his critics with the radical reintroduction of more representational elements back into compositions in 1954. Masterfully anchoring his poetic investigations into the workings of colour and form, Marine is a serene example of this reconciliation between abstraction and figuration, its bold geometries and subtle tonalities generating compositional harmony with confidence and lyricism.

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\"Denise — Denise Colomb, *Nicolas de Staël*, 1954. Image: Photo © Ministère de la Culture - Médiathèque du patrimoine et de la photographie, Dist. RMN-Grand Palais / Denise Colomb, Artwork: © ADAGP, Paris and DACS, London 2022

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After the difficult years of the Second World War dogged by financial struggle, personal tragedy, and a relentless outpouring of work, 1950 marked a decisive turning point for the artist. Gaining increasing critical attention, Galerie Jacques Dubourg mounted a solo exhibition of his work in Paris, while in New York legendary dealer Leo Castelli included his paintings in a group exhibition at the Sidney Janis Gallery, where his work was noticed by important American collectors and critics. Following a series of exhibitions in London and Paris, by 1953 de Staël’s reputation was secure with a pivotal solo exhibition with M. Knoedler & Co. n New York, leading one critic to enthuse: ‘de Staël is an Abstract Impressionist in love with light and paint, which he lays on in thick vertical and horizontal slabs as if it were butter or putty to be spread across the canvas with a trowel […] His paintings are not only sensitive responses to light, space and mass; they exist in their own right, and their existence is secured by the artist’s passionate feeling for paint and for tensions which exist only in art – on a flat, framed surface.’ⁱ

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References to Impressionism and artists of the early 20th century avant-garde were apt, further emphasised by de Staël’s involvement with the Galerie Jacques Dubourg in Paris, and his admiration for older artists such as Georges Braque. Both represented by Paul Rosenberg in the United States, for his part Braque had been impressed after seeing de Staël’s painting at a group exhibition alongside Wassily Kandinsky at the Jeanne Bucher Gallery in 1944, and the two developed a close and fruitful friendship over the following years. In its careful attention to the interactions of light, colour, and space, Marine certainly seems to draw on the compositional lessons of these modern masters, reimagined in his own, idiosyncratic vernacular.

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\"Georges — Georges Braque, *Boats in the Bay*, 1906, Los Angeles County Museum of Art. Image: Bridgeman Images, Artwork: © ADAGP, Paris and DACS, London 2022

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As renowned art historian and friend of de Staël Douglas Cooper describes: ‘Throughout the period from the summer of 1952 to the spring of 1954, de Staël’s development was rapid. His pictorial invention was harnessed to a great effort, and in everything he produced one feels the force of his originality and vitality. Gradually he simplified his method of composition until, with four or five broad areas of colour, he could evoke not merely the constituent elements of a landscape – sky, hills, buildings and a road, for example – but even a harbour with boats, a lighthouse among the dunes.'ⁱⁱ

\n\n

Having pushed his painterly language far into abstraction, the reintroduction of figurative elements proved especially successful in his coastal scenes, the single foregrounded boat here anchoring the whole composition. Set against the vast expanse of sea and sky, the boat’s simplified arrangement of curved and loosely triangular forms in strong but balanced tones of red, white, and blue achieve a masterful sense of depth and make legible the abstracted planes of colour beyond.

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Journeys Through Colour

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Moving away from the spatula and thicker impastos of his earlier work, de Staël began experimenting with thinner washes of colour, ‘creating a different sort of impressionistic sensation by the fluidity and immediacy of his paint.’ⁱⁱⁱ Visiting the Barnes Collection during his 1953 trip to America, de Staël absorbed a great many influences, and came away with a renewed interest in the muted tonalities and extreme attention to the contrasts of light and dark used to powerful effect in Édouard Manet’s canvases. Resonating in its stark simplicity, the intensification of red and blue tones offset against refined passages of white and grey here records de Staël’s working through of these influences, allowing for a more nuanced sense of space and dimension, and energising the work with a remarkable emotional intensity.

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\"Édouard — André Derain, *Bridge over the Thames in London*, 1905, Musee de l'Annonciade, Saint-Tropez. Image: Bridgeman Images, Artwork: © ADAGP, Paris and DACS, London 2022

\n\n

Demonstrating a remarkable sensitivity towards tonal shifts and values, the evolution of de Staël’s palette during this decisive period is intimately tied to his travels across Northern Europe and down into the South of France and beyond. Visiting London for the first time in 1951, de Staël had been struck by the movement of boats and play of light on the Thames, leading to his much-acknowledged mastery of grey tones as a means of generating a stunning luminosity and fluidity that persists in the present work. Based predominately in Northern France through the 1940s and early 1950s, a trip further south and exposure to the brighter, more direct light of Le Lavandou and Marseilles clarified his painterly approach to form and colour, ushering in the final stage in his evolution as a painter and the crystallisation of boldly contrasted passages of red, white, and blue employed here.

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Relocating with his family from Paris to the idyllic countryside in Ménerbes in the Autumn of 1953 after a whistlestop tour through Italy and down to Sicily, de Staël’s painting quickly absorbed the saturated colours of the south. While his landscapes registered a high palette of intense ochres, reds, and greens, his meditative Mediterranean seascapes adopted a more tranquil quality reflective of the effects of coastal light that had first captured him in 1952 when he enthused: ‘light is simply flashing here, much more than I remembered. I will create scenes of sea, beach, taking its brightness to the edge if all goes well, and also of nocturnal shadows’.

\n\n

\"Nicolas — [Left] Nicolas de Staël, *Summer Landscape in Le Lavandou*, 1952, Private Collection. Image: Bridgeman Images, Artwork: © ADAGP, Paris and DACS, London 2022
\n[Right] Nicolas de Staël, The Boat, 1954, National Galleries of Scotland. Image: © National Galleries of Scotland, Artwork: © ADAGP, Paris and DACS, London 2022

\n\n

Blue, White, and Red

\n\n

\n'For your poems, I will make a large book, and it will be in blue, white, red, because for two years I have had these colours in my head.' —Nicolas de Staël

\n\n

It was within these shifting shadows and deep, cerulean blues counterpointed against more vibrant shocks of red and white that de Staël found his last great painterly challenge in the question of luminosity, one that he would continue to develop on a trip later that summer back to Paris and the Normandy coast in canvases such as Le Bateau now held in the permanent collection of the National Galleries of Scotland. Distilling the distinctly flat and absorbent quality of coastal light into the intense luminosity of this restricted palette, Marine is a quietly powerful expression of de Staël’s late work.

\n\n

Collaborating with his friend, the poet René Char, on a book project in 1954 de Staël explained ‘For your poems, I will make a large book, and it will be in blue, white, red, because for two years I have had these colours in my head.’^iv A touching homage to the two countries that had welcomed him as an émigré and an artist, the dominance of these tones in de Staël’s canvases from this period would have a profound effect on the filmmaker Jean-Luc Godard a decade later. As well as the script’s more direct references to the painter, the palette of Godard’s 1965 film Pierrot le Fou is closely tied to de Staël’s, amplifying the pictorial tensions masterfully maintained in a painting like Marine as a visual framework to carry the film’s central conflict to its dramatic conclusion. Ending with a lingering shot out across the Mediterranean, the sun sinking beneath the horizon line, Pierrot le Fou emphasises the profound influence of de Staël’s late work on Godard who, when pressed on the role of painting in his films surmised:

\n\n

'You ask me about painting […] In painting, I know of no one who went further then Nicolas de Staël.'
\n—Jean-Luc GodardAs these important and strikingly beautiful works from the last year of his life attest to, de Staël was, in John Berger’s words, ‘a painter who never stopped looking for the sky’ as he pioneered a new transparency in his work, generating a luminosity that remains fresh and contemporary today.^vi

\n\n

\nⁱ J. Fitzsimmons, ‘In Love with Paint’, The Arts Digest, vol. 27, no. 12, March 1953, p. 16.
\nⁱⁱ Douglas Cooper, Nicolas de Staël: Masters and Movements, London, 1961, p. 62.
\nⁱⁱⁱ Douglas Cooper, Nicolas de Staël: Masters and Movements, London, 1961, p. 63.
\n^iv De Staël in a letter to Char dated 6 March 1954. De Staël, “Les Lettres”, Catalogue raisonné de l’œuvre peint, Lausanne, 1997,p. 1162.
\n^v Jean-Luc Godard, Art Press, No. 4, December 1984-January & February 1985, p. 12.
\n^vi John Berger, ‘A letter to Nicholas de Staël’, Le Monde diplomatique, June 2003.

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12Ο︎◆︎

Nicolas de Staël

Marine

Further Details

Full-Cataloguing

Nicolas de Staël