Marlene Dumas Follow Colorfields signed, titled and dated "colorfields 1997 MDumas" on the reverse oil on canvas 78 3/4 x 59 1/16 in. (200 x 150 cm.) Painted in 1997.
Provenance Galerie Paul Andriesse, Amsterdam Acquired from the above by the present owner in 1998 Exhibited Amsterdam, Galerie Paul Andriesse, Marlene Dumas Miss World January 6 - February 14, 1998 Los Angeles, The Museum of Contemporary Art; New York, The Museum of Modern Art; Houston, The Menil Collection, Marlene Dumas Measuring Your Own Grave , June 22, 2008 - March 26, 2009, pp. 118-119 (illustrated) Catalogue Essay On Beauty (They say) Art no longer produces Beauty, She produces meaning, but (I say) One cannot paint a picture, or make an image of a woman and not deal with the concept of beauty. Marlene Dumas from Models , 1995 Marlene Dumas has, by her own admission, spent nearly her entire creative life contemplating the idea of the "model” – not simply the artist’s muse or figure study, but the contemporary cultural icon of the fashion model. As a child, she entertained guests at her family’s wine vineyard in South Africa by drawing bikini-clad models on matchbooks. Of course, these images were never drawn from life, but from photographs, mental constructs of “the model.” By the time Colorfields was painted in 1997, Dumas had established herself as a masterful painter, one with a razor-sharp critical perception of the world around her. Having grown up a white female in apartheid-era South Africa, Dumas was ever aware of the power structures implicit, and explicit, in contemporary life. The strict dichotomy of that life presented an emotional and personal historic framework on which to build up her creative ingenuity from thence forth. A never ending dialogue on the limitlessness of interpretation and manifestation, Dumas’s oeuvre is a study in the power of the painted image. A striking image of five heroically-scaled women, Colorfields confronts the viewer with its bold chromatic arrangement, a quality of this painting that is relatively rare within Dumas’s pictures. First exhibited in her 1998 exhibition, Miss World , at Galerie Paul Andriesse, Amsterdam, Colorfields was joined by such other notable works as Miss January , 1997 (Rubell Family Collection, Miami), Ivory White and Ivory Black , both 1997 (both Tate, London), The Brides of Dracula , 1997 (Centraal Museum, Utrecht), and others in various esteemed public and private collections. These paintings were some of the first that Dumas painted in which fashion and the historical reference of the drapery, the fabric, featured in her work. She would go on to collaborate with Bert Boogard in 2002 on an exhibition in which Boogard overworked original nude drawings by Dumas with his own depictions of the textile. This series is currently part of an important American collection and has been promised to The Museum of Modern Art, New York. Interestingly, and especially notable with regards to Colorfields , Dumas’s titles are more often associative than directly literal, and while she does clearly reference the Color Field movement, the emotive nature of color harnessed and exercised by the Abstract Expressionists is much more at the fore of this painting than anything proposed by the Color Field painters. And just as much as that bastion of machismo painting of the post-war period affected Dumas, so too can one clearly understand the influence of her turn-of-the-century European forebears. The demented coloration of Munch’s psychologically driven universe, Nolde’s crazed dancers, Jawlensky’s portraits, all feature prominently within Colorfields and yet none are nearly so layered in their meaning as Dumas’s painting. Taking as its source a Vogue photograph of four models – Carla Bruni, Nadja Auermann, Shalom Harlow, and Karen Mulder – Colorfields is emblematic of Dumas’s painting in its mediation and reinterpretation of an earlier source photograph, and is further distinguished by the interesting addition of a fifth figure to the far right. Nearly all of Dumas’s painting have a basis in photography, “The source materials are about the political choices one faces. They ar
Marlene Dumas Follow Colorfields signed, titled and dated "colorfields 1997 MDumas" on the reverse oil on canvas 78 3/4 x 59 1/16 in. (200 x 150 cm.) Painted in 1997.
Provenance Galerie Paul Andriesse, Amsterdam Acquired from the above by the present owner in 1998 Exhibited Amsterdam, Galerie Paul Andriesse, Marlene Dumas Miss World January 6 - February 14, 1998 Los Angeles, The Museum of Contemporary Art; New York, The Museum of Modern Art; Houston, The Menil Collection, Marlene Dumas Measuring Your Own Grave , June 22, 2008 - March 26, 2009, pp. 118-119 (illustrated) Catalogue Essay On Beauty (They say) Art no longer produces Beauty, She produces meaning, but (I say) One cannot paint a picture, or make an image of a woman and not deal with the concept of beauty. Marlene Dumas from Models , 1995 Marlene Dumas has, by her own admission, spent nearly her entire creative life contemplating the idea of the "model” – not simply the artist’s muse or figure study, but the contemporary cultural icon of the fashion model. As a child, she entertained guests at her family’s wine vineyard in South Africa by drawing bikini-clad models on matchbooks. Of course, these images were never drawn from life, but from photographs, mental constructs of “the model.” By the time Colorfields was painted in 1997, Dumas had established herself as a masterful painter, one with a razor-sharp critical perception of the world around her. Having grown up a white female in apartheid-era South Africa, Dumas was ever aware of the power structures implicit, and explicit, in contemporary life. The strict dichotomy of that life presented an emotional and personal historic framework on which to build up her creative ingenuity from thence forth. A never ending dialogue on the limitlessness of interpretation and manifestation, Dumas’s oeuvre is a study in the power of the painted image. A striking image of five heroically-scaled women, Colorfields confronts the viewer with its bold chromatic arrangement, a quality of this painting that is relatively rare within Dumas’s pictures. First exhibited in her 1998 exhibition, Miss World , at Galerie Paul Andriesse, Amsterdam, Colorfields was joined by such other notable works as Miss January , 1997 (Rubell Family Collection, Miami), Ivory White and Ivory Black , both 1997 (both Tate, London), The Brides of Dracula , 1997 (Centraal Museum, Utrecht), and others in various esteemed public and private collections. These paintings were some of the first that Dumas painted in which fashion and the historical reference of the drapery, the fabric, featured in her work. She would go on to collaborate with Bert Boogard in 2002 on an exhibition in which Boogard overworked original nude drawings by Dumas with his own depictions of the textile. This series is currently part of an important American collection and has been promised to The Museum of Modern Art, New York. Interestingly, and especially notable with regards to Colorfields , Dumas’s titles are more often associative than directly literal, and while she does clearly reference the Color Field movement, the emotive nature of color harnessed and exercised by the Abstract Expressionists is much more at the fore of this painting than anything proposed by the Color Field painters. And just as much as that bastion of machismo painting of the post-war period affected Dumas, so too can one clearly understand the influence of her turn-of-the-century European forebears. The demented coloration of Munch’s psychologically driven universe, Nolde’s crazed dancers, Jawlensky’s portraits, all feature prominently within Colorfields and yet none are nearly so layered in their meaning as Dumas’s painting. Taking as its source a Vogue photograph of four models – Carla Bruni, Nadja Auermann, Shalom Harlow, and Karen Mulder – Colorfields is emblematic of Dumas’s painting in its mediation and reinterpretation of an earlier source photograph, and is further distinguished by the interesting addition of a fifth figure to the far right. Nearly all of Dumas’s painting have a basis in photography, “The source materials are about the political choices one faces. They ar
Testen Sie LotSearch und seine Premium-Features 7 Tage - ohne Kosten!
Lassen Sie sich automatisch über neue Objekte in kommenden Auktionen benachrichtigen.
Suchauftrag anlegen
.jpg "Quelle: Christie's")
.jpg "Quelle: Christie's")
.jpg "Quelle: Christie's")
.jpg "Quelle: Christie's")
