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Lot 6685
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Peter Klasen, Germany (b.1935), Untitled Face, Lithograph ed. 82/100
Peter Klasen, Germany (b.1935), Untitled Face, Lithograph ed. 82/100
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Description:

Peter Klasen
Germany (b.1935)
Untitled Face
Lithograph ed. 82/100
Signed lower right, indistinct

  • Provenance: From 1955, Peter Klasen began learning lithography and airbrush techniques. He entered the University of the Arts in Berlin. This was then the avant-garde school and benefited from the presence of young teachers trained in the spirit of Bauhaus or German expressionism, such as Hann Trier, an important painter of the informal school. He took lessons from Will Grohmann, Hans Richter and Karl Schmidt-Rottliff.
    In 1959, he arrived in Paris and, in 1960, settled in a workshop on rue de Clignancourt, Paris.
    In 1962, he was one of the founders of New Figuration. In this movement, which also took the name of Narrative Figuration, we find in particular Valerio Adami, Erró, Jacques Monory, Bernard Rancillac and Hervé Télémaque.
    His first solo exhibition was held in 1966 in Paris. In the early 1960s, he produced airbrush acrylic painted canvases that incorporated collages of objects, photos and documents. In 1964, he took part in the "Daily Mythologies" exhibition which brought together 34 artists from Narrative Figuration at the Paris Museum of Modern Art. In 1968, he began the series of "Binary Paintings" which associate often threatening male and female bodies and objects.
    In 1974, he began a new series inspired by work on confinement & reflection on the Holocaust. He presents on large canvases painted reproductions of the backs of trucks, wagons, railings, chains, marked with numbers, letters and visual warning codes.
    In 1981, he visited New York. In 1985, he moved into an abandoned factory in Vincennes which he transformed into a home-workshop.
    In the 1980s, he produced a series of canvases which reproduced graffiti photographed on the Berlin Wall. In 1991, he created Shock Corridor/deadend, an installation inspired by the film by Samuel Fuller which evokes the concentration camp world more than the psychiatric one. In 1997, he adopted digital printing techniques to produce very large formats which evoke collages on which he affixes objects and neon lights. In 2009, he produced a device inspired by Kafka's Penal Colony machine.
  • Dimensions: 64.2 x 49.5 cm
  • Medium: Lithograph ed. 82/100
  • Condition: Good, some scuffing to edges, not framed

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30 September 2024 06:00 AEST
Stanmore, Australia

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A$0 A$49 A$5
A$50 A$99 A$10
A$100 A$299 A$20
A$300 A$499 A$25
A$500 A$999 A$50
A$1,000 A$1,999 A$100
A$2,000 A$4,999 A$200
A$5,000 A$9,999 A$500
A$10,000 A$19,999 A$1,000
A$20,000 A$49,999 A$2,000
A$50,000 A$99,999 A$5,000
A$100,000 A$199,999 A$10,000
A$200,000 A$499,999 A$20,000
A$500,000 + A$50,000