Tamila Kerimova
\nDirector, Specialist
\nHead of Day Sale
\n+44 20 7318 4065
\ntkerimova@phillips.com

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Auction 3 October 2pm BST

\n\n

30 Berkeley Square, London (map)

\n\n

Viewing

\n\n

26 September – 3 October

\n\n

Monday 10am–6pm

\n\n

Tuesday 10am–8pm

\n\n

Wednesday to Saturday 10am–6pm

\n\n

Sunday 12pm–6pm

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Detail from Zeng Fanzhi's Untitled (Bacon), 2005

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Untitled (Bacon), 2005, is an important and emotive example from Zeng Fanzhi ’s Portraiture series, created at a time when the artist was searching for a way to systematically ‘unmask’ his subjects and seek an increasingly direct expressionistic language. Having always been enthralled by the opportunities presented by portraiture, Zeng has continually reinvented and reinvigorated the subject throughout his career. Best-known for his Mask series, which focused on capturing the contradiction between the external pomposity and inner emptiness of the inhabitants of cosmopolitan Beijing, after 2000, Zeng began to unmask his canvases’ protagonists. The artist’s penchant for transforming appearances evolved from a simple concealment of his subjects’ faces to a more complex, and intensely psychological warping, all the while remaining entirely faithful to his own artistic identity. These contortions pay homage to those of Francis Bacon’s own paintings, presenting a counter-point of intense and raw emotional vulnerability to the earlier works. In this way, Untitled (Bacon) forms a perfect corollary and is a natural heir to the Masks.

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Francis Bacon in his studio, London, 1966. Artwork © The Estate of Francis Bacon. Image: Photo © Mario Dondero / Bridgeman Images

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Zeng studied the Western art historical canon and the Occidental philosophical tradition alongside his explorations of the art of his native culture. Max Beckmann, Willem de Kooning, Lucian Freud and Francis Bacon – the latter forming the subject the present work – inspired Zeng to find an individual voice from within the rote pedagogy of Soviet Socialist Realism that then guided the curriculum. Taking Andy Warhol, Mao, Lucian Freud and Marilyn Monroe amongst others as his subjects, Zeng evolved an idiosyncratic style that suffuses a pantheon of references across both Eastern and Western traditions. Zeng crossed the Rubicon, daring to turn his back on Socialist Realism in a newly capitalist China. His aesthetic restlessness is the paradigmatic expression of the evolution of Chinese contemporary art post-1989.

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Installation view of Zeng Fanzhi's Untitled (Bacon), 2005

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The vast scale of the canvas combined with the energetic brush marks is a fitting tribute to its subject matter, a titan of 20th-century modernism. Bacon’s psychic portraits unquestionably altered the status of the human figure in the 1900s. Densely-knotted calligraphic tangles of paint construct Bacon’s physiognomy, simultaneously creating and distorting the subject’s facial features, which, coupled with the subject’s thoughtful facial expression, lends the figure a paradoxically introspective dynamism. Commenting on the two artists’ styles, Yuko Hasegawa writes, "in most of Bacon’s work, the faces covered with these obliterating brush strokes have wide-open, crying mouths. They represent a hysterical state of mind; a raw, almost tangible, fear. Zeng’s tarnished faces, conversely, represent the figures’ quiet skepticism and awe" (Yuko Hasegawa, 'Painting as Speculative Realism', Zeng Fanzhi: Paintings, Drawings, and Two Sculptures). Zeng himself describes Bacon’s work as 'hugely influential' to him as a young artist alongside those of Bacon’s close friend, Freud (Phong Bui, 'Interview with Zeng Fanzhi', The Brooklyn Rail). Indeed, Zeng’s portrait of Bacon has much in common with Freud’s famous rendering of his friend. Untitled (Bacon) forms part of a series of portraits by the artist celebrating cultural icons including Freud, completing the network of homages to each other paid by the artists.

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Zeng’s secret of striking an emotional cord with viewers lies in his ability to liberate us from the rigid framework of culture-specific iconography. — Chiu-Ti Jansen, 'Unmasking Icons: Zeng Fanzhi’s Retrospective in Paris'
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Typical of Zeng’s post-millennial works, the complex weave of brushstrokes in Untitled (Bacon) are created with intense physical involvement; using his entire body to stretch across the breadth of the canvas, Zeng uses his virtuosic ability to handle multiple paintbrushes at once, creating an impressive symbiosis of thick impasto and delicate, lacelike lines. Remarking on this process, Zeng has stated: "I have to paint very fast and almost without thinking. […] when your technique reaches a certain level, you’re freed from yourself. You’re already certain and accurate without knowing it. I don’t have to look with my eyes to get my soul, body, and the canvas to reach a state of unity. It’s the highest form of freedom" (Phong Bui, 'Interview with Zeng Fanzhi'). Zeng’s sophisticated underlying pictorial grammar recalls Jackson Pollock’s lauded drip paintings and the psychic automatism of the Surrealists. In venturing into abstraction, Zeng also reacquainted himself with traditional Chinese ink painting particularly from the Northern Wei to Song and Yuan dynasties from the 14th and 15th centuries, adding to the multifaceted wealth of Eastern and Western influences. It is an extension of the consistent challenge to the boundary between Eastern and Western artmaking that Zeng’s praxis epitomizes; mingling the history of China with his own personal history, the artist effortlessly combines the macrocosmic view with his individual microcosms.

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\n","publishDate","2019-09-24T20:02:48.000000Z","coverPosX","coverPosY","articleUrl","https://www.phillips.com/article/47446385/zeng-fanzhi-francis-bacon","auctionEditorialID",626,"editorialID",724,"flocklerID",47446385,{"_3041":3063,"_3043":231,"_3044":3064,"_3046":3065,"_3048":3066,"_3050":3067,"_3052":1555,"_3053":470,"_3054":3068,"_462":229,"_3056":3069,"_3058":3070,"_3060":3071},"https://flockler.com/thumbs/sites/889/112_001silo-66d92aa1-dbd8-4990-aa63-41d42b2f39a2_s600x0.jpg","Coming to Phillips from a prominent Dubai collection, Peter Halley's 'Direction No. 7' evokes the authoritative minimalism of the Kaaba at Mecca. ","Refuge in the Form of the Square","

Peter Halley Direction No. 7, 2014

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Direction No. 7 is a powerfully commanding example from Peter Halley’s Direction series, influenced by the demandingly austere authority of the Kaaba, Mecca, to which all Muslim prayer is directed. Included in the artist’s exhibition at Mottahedan Projects, Dubai, Direction No. 7 is arresting and immediate, constructed with Halley’s rigorous formal language and bold aesthetic in uniform silver, gold and black. Executed in textured Roll-a-Tex, Halley’s physical signifier and ready-made imitation of painterly impasto, Direction No.7 takes on a distinct architectural quality, intensified by the geometric, structural precision of the composition.

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The central black square, dominating the composition, echoes Malevich’s Black Square, a symbol of transcendence and avant-garde aspiration. "In the year 1913, trying desperately to free art from the dead weight of the real world, I took refuge in the form of the square" (Kasimir Malevich, The Non-Objective World: The Manifesto of Suprematism, 1926). The refuge Malevich found in the square can be physically and spiritually found at the Kaaba and is vigorously emulated in Peter Halley’s Direction No. 7.

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I was interested in the parallels between the stark form of the Kaaba and the squares and cubes of Minimalist art, which was then at its moment of greatest influence. There is no other great religious shrine in the world that is as austere as the Kaaba.
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Pilgrims at the Kaaba, c. 1925, Mecca, Saudi Arabia. Image: Lebrecht History / Bridgeman Images

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Direction No. 7, the largest and the last of the Direction series, delves deeper into earlier themes that Halley had explored. "Back in the 1970’s I also made several small gouache paintings with square and cubic forms referring to the architecture of the Kaaba. I was interested in the parallels between the stark form of the Kaaba and the squares and cubes of Minimalist art, which was then at its moment of greatest influence. There is no other great religious shrine in the world that is as austere as the Kaaba. Except for the entrance door, the exterior is free from any trace of historical styles. It is a pure iconic symbol of the house, or sanctuary, with four plain walls covered by a flat roof. Its form is totally functional – the vertical walls enclose the space, while the horizontal roof provides shelter from the elements" (Peter Halley, interviewed by Salwa Mikdadi in Dubai, A Mottahedan Project, The Awakening: Peter Halley and Pietro Roccasalva).

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Throughout Halley’s oeuvre, he has focused on the sociological implication of geometric forms and symbols through the domination of squares, rectangles and lines. In contrast, the external austerity of the Kaaba symbolizes the straight path through life and the upward vertical directional lines of spiritual transcendence, forms and shapes that are boldly replicated in their pure simplicity in Direction No. 7. "I have been interested in a presentation of the architecture of the Kaaba expressed in the language of contemporary painting. The Kaaba embodies many of the themes that have been important to me throughout my life as an artist: iconicity, austerity, enclosure, and sanctuary" (Peter Halley, interviewed by Salwa Mikdadi in Dubai, A Mottahedan Project, The Awakening: Peter Halley and Pietro Roccasalva). Direction No. 7 masterfully embodies Halley’s iconic brand of geometric abstraction and continuous themes in his unique and striking interpretation of the religious focal point.

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Peter Halley Bright, 2018. This work will also come to auction at the 20th Century & Contemporary Art Day Sale on 3 October 2019.

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\n","2019-09-25T18:45:17.000000Z","https://www.phillips.com/article/47493993/peter-halley-kaaba",634,727,47493993,{"_3041":3073,"_3043":231,"_3044":3074,"_3046":3075,"_3048":3076,"_3050":3077,"_3052":1555,"_3053":470,"_3054":3078,"_462":385,"_3056":3079,"_3058":3080,"_3060":3081},"https://flockler.com/thumbs/sites/889/119_001-b22e042e-c274-49e0-a0f7-1ff702c9eb86_s600x0.jpg","Existing somewhere between figuration and abstraction, 'House of Pictures' invites the viewer in while simultaneously obfuscating closer analysis. ","Peter Doig: 'Hinged in Reality'","

Peter Doig House of Pictures, 2002-2003

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To experience Peter Doig’s House of Pictures, 2002-2003, is to engage in an exhilarating game of push and pull. A dazzling flame of orange hair arrests our attention, yet the figure to whom it belongs’ backward stance rebukes our advances; manifestly in view but physically inaccessible. The intimacy of its scale invites familiarity, but this too is a double-edged sword, as the severe cropping creates an unsettling sense of claustrophobia and entrapment, all the while excluding the viewer from anchoring it to any sense of time and place; but for the blazing swathe of orange, the figure seems almost intangible.

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It is a hallmark of Doig’s oeuvre to conceal, obscure or otherwise remove his figures just beyond the viewer’s reach. Following in the tradition of Edward Hopper’s late-night diners and Cindy Sherman’s Untitled Film Stills, Doig toys with our human compulsion to impose narrative. The saturnine protagonist of House of Pictures refuses to give us any clues, leaving them an empty canvas onto which the viewer’s imagination can project their memories, dreams, and fantasies. Following the same bloodline, Doig’s painting has an undeniably cinematic presence and magically instills a sense of nostalgia for a past the viewer has not even necessarily experienced themselves. As one scholar observes: "As a matter of course, Doig’s work displays a resolute, unwavering faith in the medium of painting. Free of compulsions to provide justifications, of pressures to engage in argumentation, this attitude expresses a contemporary sensibility, a consciousness that inscribes the past—and implicitly, nostalgia and sentiment as well—into the image as a perpetually renewed process" (Peter Doig: No Foreign Lands, exh. cat., Scottish National Gallery, Edinburgh).

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Edvard Munch Vampire, 1893-1894, oil on canvas, Munchmuseet, Oslo. Image: De Agostini Picture Library / Bridgeman Images

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The work’s formal economy means that it occupies a liminal space between figuration and abstraction: reality as filtered through the prism of Doig’s inimitable imagination. Indeed, this is an enchanting example of the artist’s class of magical realism. The insistence on a reference point from the tangible world has been described by Doig as a desire to be "hinged in reality, hinged in a believeableness" (Peter Doig, cited in Robert Enright, 'The Eye of the Painting: An Interview with Peter Doig'). It is this effortless assimilation of the two realms of abstraction and figuration into an enchanting dreamscape that singles Doig out as a leading figure in contemporary art’s "return to painting." Doig’s distinctive visual grammar interweaves personal recollections and found imagery with references to art history, as in House of Pictures. The artist amasses his sources from film, photography or from his own lived experience, yet these collages of influence can only truly be actualized through paint on canvas. The figure in House of Pictures is at once uniquely biographical to Doig but also a familiar leitmotif in art history: the shock of red hair has previously adorned the subjects of Gustav Klimt, Edvard Munch, the Pre-Raphaelites and Sandro Botticelli.

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In Chicago, I saw the painting by Daumier, 'L’amateur d’estampes,' of a man looking at prints. The 'House of Pictures' became my version. — Peter Doig
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Honoré Daumier L'amateur d'estampes, 1852–1868, oil on cradled panel, Art Institute of Chicago.

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House of Pictures has a fascinating genesis, alongside its larger, sister piece from the same year. Doig was first inspired to make the work in response to an encounter with a 19th-century picture gallery named "Haus der Bild" (House of Pictures) he encountered during a summer sojourn in the Austrian capital. Initially only painting the façade, it was not until two years later that he found the lead character for the work, chanced upon outside a restaurant in Vancouver. This person was "a guy getting into a minivan; he had his hands in his pockets, looking for his keys, and he was dressed all in black leather like Johnny Cash. He was actually native Indian. I never saw his face but he had this incredible mane of black hair and this black hat, and he had on these extreme cowboy boots. It was the body position that I liked. But in my painting I wanted the figure to look European, so I made his hair red instead. I wanted him to be like a figure from a Fassbinder film" (Peter Doig, cited in Robert Enright, 'The Eye of the Painting: An Interview with Peter Doig').

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It is this unique patience for, and confidence in finding the perfect missing pieces for his works, which he then unites and reworks from their disparate histories into a single whole which singles Doig out as one of the foremost imaginations of his generation.

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164

Wei Jia

David III

Full-Cataloguing

Wei Jia