Unbenannt-15

THE PRIVILEGE OF PAINTING

THE PRIVILEGE OF PAINTING

THE PRIVILEGE OF PAINTING

THE PRIVILEGE OF PAINTING

THE PRIVILEGE OF PAINTING

Viewing Room

Viewing Room

Viewing Room

Viewing Room

Viewing Room

20th Century Masters

20th Century Masters

20th Century Masters

20th Century Masters

20th Century Masters

SETAREH is pleased to offer you the exclusive opportunity of viewing the exhibition The Privilige of Painting: 20th Century Masters as part of this Private Sale. Long unseen on the art market, works by world famous artists such as René Magritte through Hans Hartung and Jean-Paul Riopelle et. al., will be exhibited to a small circle of collectors and we are delighted that you are chosen to be a part of it. 

SETAREH is pleased to offer you the exclusive opportunity of viewing the exhibition The Privilige of Painting: 20th Century Masters as part of this Private Sale. Long unseen on the art market, works by world famous artists such as René Magritte through Hans Hartung and Jean-Paul Riopelle et. al., will be exhibited to a small circle of collectors and we are delighted that you are chosen to be a part of it. 

SETAREH is pleased to offer you the exclusive opportunity of viewing the exhibition The Privilige of Painting: 20th Century Masters as part of this Private Sale. Long unseen on the art market, works by world famous artists such as René Magritte through Hans Hartung and Jean-Paul Riopelle et. al., will be exhibited to a small circle of collectors and we are delighted that you are chosen to be a part of it. 

SETAREH is pleased to offer you the exclusive opportunity of viewing the exhibition The Privilige of Painting: 20th Century Masters as part of this Private Sale. Long unseen on the art market, works by world famous artists such as René Magritte through Hans Hartung and Jean-Paul Riopelle et. al., will be exhibited to a small circle of collectors and we are delighted that you are chosen to be a part of it. 

SETAREH is pleased to offer you the exclusive opportunity of viewing the exhibition The Privilige of Painting: 20th Century Masters as part of this Private Sale. Long unseen on the art market, works by world famous artists such as René Magritte through Hans Hartung and Jean-Paul Riopelle et. al., will be exhibited to a small circle of collectors and we are delighted that you are chosen to be a part of it. 

Hartung, Hans, T1962-H19, 1962 (3 February 1962), Vinyl_auf_Leinwand, 58 x 250 cm
Unbenannt-56
Unbenannt-fg

Hans Hartung
T1962-H19
1962
Vinyl on canvas
58 x 250 cm

Hans Hartung
T1962-H19
1962
Vinyl on canvas
58 x 250 cm

Hans Hartung
T1962-H19
1962
Vinyl on canvas
58 x 250 cm

Hans Hartung
T1962-H19
1962
Vinyl on canvas
58 x 250 cm

T1962-E47
1962
vinyl on canvas
58 x 250 cm I 22 3/4 x 98 1/2 in.

SOLD

Setareh_2021_12_6_42303

 Hans Hartung's composition is divided into three colour fields arranged across the elongated horizontal format.
The light grey grounding of the canvas is overlaid by these colour areas in blue, light brown and light blue. The various layers of paint have been removed in dynamic ridges within the colour fields, revealing the white underneath. These gesturally scratched lines convey the impression of speed and are reminiscent of rays of light. Hartung's characteristic feature is the dynamisation of a fundamentally static composition with intuitive and, at the same time, precisely placed interventions.

 Hans Hartung's composition is divided into three colour fields arranged across the elongated horizontal format.
The light grey grounding of the canvas is overlaid by these colour areas in blue, light brown and light blue. The various layers of paint have been removed in dynamic ridges within the colour fields, revealing the white underneath. These gesturally scratched lines convey the impression of speed and are reminiscent of rays of light. Hartung's characteristic feature is the dynamisation of a fundamentally static composition with intuitive and, at the same time, precisely placed interventions.

 Hans Hartung's composition is divided into three colour fields arranged across the elongated horizontal format.
The light grey grounding of the canvas is overlaid by these colour areas in blue, light brown and light blue. The various layers of paint have been removed in dynamic ridges within the colour fields, revealing the white underneath. These gesturally scratched lines convey the impression of speed and are reminiscent of rays of light. Hartung's characteristic feature is the dynamisation of a fundamentally static composition with intuitive and, at the same time, precisely placed interventions.

 Hans Hartung's composition is divided into three colour fields arranged across the elongated horizontal format.
The light grey grounding of the canvas is overlaid by these colour areas in blue, light brown and light blue. The various layers of paint have been removed in dynamic ridges within the colour fields, revealing the white underneath. These gesturally scratched lines convey the impression of speed and are reminiscent of rays of light. Hartung's characteristic feature is the dynamisation of a fundamentally static composition with intuitive and, at the same time, precisely placed interventions.

 Hans Hartung's composition is divided into three colour fields arranged across the elongated horizontal format.
The light grey grounding of the canvas is overlaid by these colour areas in blue, light brown and light blue. The various layers of paint have been removed in dynamic ridges within the colour fields, revealing the white underneath. These gesturally scratched lines convey the impression of speed and are reminiscent of rays of light. Hartung's characteristic feature is the dynamisation of a fundamentally static composition with intuitive and, at the same time, precisely placed interventions.

Riopelle, Jean-Paul, 1959, Öl auf Leinwand, 130 x 162 cm

Jean-Paul Riopelle
Port Coton, 1959
Oil on canvas
130 x 162 cm

Jean-Paul Riopelle
Port Coton, 1959
Oil on canvas
130 x 162 cm

Jean-Paul Riopelle
Port Coton, 1959
Oil on canvas
130 x 162 cm

Jean-Paul Riopelle
Port Coton, 1959
Oil on canvas
130 x 162 cm

Jean-Paul Riopelle
Port Coton, 1959
Oil on canvas
130 x 162 cm

Riopelle, Jean-Paul, 1959, Öl auf Leinwand, 130 x 162 cm
Riopelle, Jean-Paul, 1959, Öl auf Leinwand, 130 x 162 cm, Installation_view_2

"Port Coton'' (1959), which has been in private Canadian collections for a long time, is being presented in Germany for the first time. This work is probably one of the most impressive examples of Riopelle's early creative period.

"Port Coton'' (1959), which has been in private Canadian collections for a long time, is being presented in Germany for the first time. This work is probably one of the most impressive examples of Riopelle's early creative period.

"Port Coton'' (1959), which has been in private Canadian collections for a long time, is being presented in Germany for the first time. This work is probably one of the most impressive examples of Riopelle's early creative period.

"Port Coton'' (1959), which has been in private Canadian collections for a long time, is being presented in Germany for the first time. This work is probably one of the most impressive examples of Riopelle's early creative period.

"Port Coton'' (1959), which has been in private Canadian collections for a long time, is being presented in Germany for the first time. This work is probably one of the most impressive examples of Riopelle's early creative period.

It is one of Riopelle's characteristic works from the 1950s and captivates with its thick impasto layers of paint, which the artist applies to the canvas with a palette knife or directly from the tube. The basic structure of the composition is black paint applied in impasto stripes, which is complemented with blue, yellow, green, and red areas of colour.


Riopelle translates the abstract expressionism of a Willem de Kooning or a Clyfford Still into a new - his - pictorial language, giving it new expressive power. Oscillating between abstraction and figuration, the artist creates a dense composition in which the bright reds, deep blues and greens and white-black colours suggest three-dimensionality.

It is one of Riopelle's characteristic works from the 1950s and captivates with its thick impasto layers of paint, which the artist applies to the canvas with a palette knife or directly from the tube. The basic structure of the composition is black paint applied in impasto stripes, which is complemented with blue, yellow, green, and red areas of colour.


Riopelle translates the abstract expressionism of a Willem de Kooning or a Clyfford Still into a new - his - pictorial language, giving it new expressive power. Oscillating between abstraction and figuration, the artist creates a dense composition in which the bright reds, deep blues and greens and white-black colours suggest three-dimensionality.

It is one of Riopelle's characteristic works from the 1950s and captivates with its thick impasto layers of paint, which the artist applies to the canvas with a palette knife or directly from the tube. The basic structure of the composition is black paint applied in impasto stripes, which is complemented with blue, yellow, green, and red areas of colour.


Riopelle translates the abstract expressionism of a Willem de Kooning or a Clyfford Still into a new - his - pictorial language, giving it new expressive power. Oscillating between abstraction and figuration, the artist creates a dense composition in which the bright reds, deep blues and greens and white-black colours suggest three-dimensionality.

It is one of Riopelle's characteristic works from the 1950s and captivates with its thick impasto layers of paint, which the artist applies to the canvas with a palette knife or directly from the tube. The basic structure of the composition is black paint applied in impasto stripes, which is complemented with blue, yellow, green, and red areas of colour.


Riopelle translates the abstract expressionism of a Willem de Kooning or a Clyfford Still into a new - his - pictorial language, giving it new expressive power. Oscillating between abstraction and figuration, the artist creates a dense composition in which the bright reds, deep blues and greens and white-black colours suggest three-dimensionality.

It is one of Riopelle's characteristic works from the 1950s and captivates with its thick impasto layers of paint, which the artist applies to the canvas with a palette knife or directly from the tube. The basic structure of the composition is black paint applied in impasto stripes, which is complemented with blue, yellow, green, and red areas of colour.


Riopelle translates the abstract expressionism of a Willem de Kooning or a Clyfford Still into a new - his - pictorial language, giving it new expressive power. Oscillating between abstraction and figuration, the artist creates a dense composition in which the bright reds, deep blues and greens and white-black colours suggest three-dimensionality.

Setareh_2021_12_08_42404
Basaldella, Afro, Lo_Stemma (A Petrassi), 1968, Verschiedene_Materialien_auf_Leinwand, 90 x 125 cm

Afro
Lo Stemma (A Petrassi), 1968
Mixed Media on canvas
90 x 125 cm

Afro
Lo Stemma (A Petrassi), 1968
Mixed Media on canvas
90 x 125 cm

Afro
Lo Stemma (A Petrassi), 1968
Mixed Media on canvas
90 x 125 cm

Afro
Lo Stemma (A Petrassi), 1968
Mixed Media on canvas
90 x 125 cm

Afro
Lo Stemma (A Petrassi), 1968
Mixed Media on canvas
90 x 125 cm

Basaldella, Afro, Lo_Stemma (A Petrassi), 1968, Verschiedene_Materialien_auf_Leinwand, 90 x 125 cm, Installation_view_2

This oil painting by Afro, which was exhibited at the Hermitage in St. Petersburg in 2009, captivates with its powerful and expressive colouring. At first glance, the work appears to be an impulsive and unplanned act of creation, but a closer look reveals a well-considered composition. The sand-coloured background is overlaid with black and dark blue areas of colour, which lend the picture a certain structure. The transparent, overlapping light and dark hues give the composition a lyrical and poetic character.

This oil painting by Afro, which was exhibited at the Hermitage in St. Petersburg in 2009, captivates with its powerful and expressive colouring. At first glance, the work appears to be an impulsive and unplanned act of creation, but a closer look reveals a well-considered composition. The sand-coloured background is overlaid with black and dark blue areas of colour, which lend the picture a certain structure. The transparent, overlapping light and dark hues give the composition a lyrical and poetic character.

This oil painting by Afro, which was exhibited at the Hermitage in St. Petersburg in 2009, captivates with its powerful and expressive colouring. At first glance, the work appears to be an impulsive and unplanned act of creation, but a closer look reveals a well-considered composition. The sand-coloured background is overlaid with black and dark blue areas of colour, which lend the picture a certain structure. The transparent, overlapping light and dark hues give the composition a lyrical and poetic character.

This oil painting by Afro, which was exhibited at the Hermitage in St. Petersburg in 2009, captivates with its powerful and expressive colouring. At first glance, the work appears to be an impulsive and unplanned act of creation, but a closer look reveals a well-considered composition. The sand-coloured background is overlaid with black and dark blue areas of colour, which lend the picture a certain structure. The transparent, overlapping light and dark hues give the composition a lyrical and poetic character.

This oil painting by Afro, which was exhibited at the Hermitage in St. Petersburg in 2009, captivates with its powerful and expressive colouring. At first glance, the work appears to be an impulsive and unplanned act of creation, but a closer look reveals a well-considered composition. The sand-coloured background is overlaid with black and dark blue areas of colour, which lend the picture a certain structure. The transparent, overlapping light and dark hues give the composition a lyrical and poetic character.

Poliakoff, Serge, Composition abstraite, 1958, Öl_auf _Leinwand, 81 x 65 cm, Installation_view_2
Poliakoff, Serge, Composition abstraite, 1958, Öl_auf _Leinwand, 81 x 65 cm

Serge Poliakoff
Composition abstraite, 1958
Oil on canvas
81 x 65 cm

Serge Poliakoff
Composition abstraite, 1958
Oil on canvas
81 x 65 cm

Serge Poliakoff
Composition abstraite, 1958
Oil on canvas
81 x 65 cm

Serge Poliakoff
Composition abstraite, 1958
Oil on canvas
81 x 65 cm

Serge Poliakoff
Composition abstraite, 1958
Oil on canvas
81 x 65 cm

The work "Composition abstraite" was created in the late 1950s, at the peak of Poliakoff's artistic development, which was formative for his later creative period. The multitude of strong yet finely nuanced colour gradations provide the work with an almost meditative sensuality.
The artist used earthy reds and browns that draw the viewer into a painterly microcosm with great warmth. The subtle colouring, the liveliness of the coloured areas and the haptically appealing surface structure creates a painting of almost sculptural effect.

 

The work "Composition abstraite" was created in the late 1950s, at the peak of Poliakoff's artistic development, which was formative for his later creative period. The multitude of strong yet finely nuanced colour gradations provide the work with an almost meditative sensuality.
The artist used earthy reds and browns that draw the viewer into a painterly microcosm with great warmth. The subtle colouring, the liveliness of the coloured areas and the haptically appealing surface structure creates a painting of almost sculptural effect.

 

The work "Composition abstraite" was created in the late 1950s, at the peak of Poliakoff's artistic development, which was formative for his later creative period. The multitude of strong yet finely nuanced colour gradations provide the work with an almost meditative sensuality.
The artist used earthy reds and browns that draw the viewer into a painterly microcosm with great warmth. The subtle colouring, the liveliness of the coloured areas and the haptically appealing surface structure creates a painting of almost sculptural effect.

 

The work "Composition abstraite" was created in the late 1950s, at the peak of Poliakoff's artistic development, which was formative for his later creative period. The multitude of strong yet finely nuanced colour gradations provide the work with an almost meditative sensuality.
The artist used earthy reds and browns that draw the viewer into a painterly microcosm with great warmth. The subtle colouring, the liveliness of the coloured areas and the haptically appealing surface structure creates a painting of almost sculptural effect.

 

The work "Composition abstraite" was created in the late 1950s, at the peak of Poliakoff's artistic development, which was formative for his later creative period. The multitude of strong yet finely nuanced colour gradations provide the work with an almost meditative sensuality.
The artist used earthy reds and browns that draw the viewer into a painterly microcosm with great warmth. The subtle colouring, the liveliness of the coloured areas and the haptically appealing surface structure creates a painting of almost sculptural effect.

Setareh_2021_12_08_42450
Setareh_2021_12_08_42548
Atlan, Jean-Michel, Calypso III, 1958, Öl_auf_Leinwand, 114 x 146 cm, Installation_view_2

Jean-Michel Atlan
Calypso III, 1958
Oil on canvas
114 x 146 cm

Jean-Michel Atlan
Calypso III, 1958
Oil on canvas
114 x 146 cm

Jean-Michel Atlan
Calypso III, 1958
Oil on canvas
114 x 146 cm

Jean-Michel Atlan
Calypso III, 1958
Oil on canvas
114 x 146 cm

Jean-Michel Atlan
Calypso III, 1958
Oil on canvas
114 x 146 cm

Setareh_2021_12_08_42548

Tony Cragg
Points of View, 2019
Bronze
110 x 55 x 55 cm

Tony Cragg
Points of View, 2019
Bronze
110 x 55 x 55 cm

Tony Cragg
Points of View, 2019
Bronze
110 x 55 x 55 cm

Tony Cragg
Points of View, 2019
Bronze
110 x 55 x 55 cm

Tony Cragg
Points of View, 2019
Bronze
110 x 55 x 55 cm

The 110 cm high sculpture "Points of View" is a black patinated bronze cast of a model created especially for it on a scale of 1:1. The dynamic structure consists of three columnar rotating bodies that seem to grow out of a square bronze plate at the corners of an imaginary triangle. The vertical and spiralling forms have a water-like quality, evoked by the mirror-smooth surface and the flowing transitions between the undulating forms, which appear flat, curved and partly angular. Again and again, there are points of contact where the individual bronze strands merge with each other.

The 110 cm high sculpture "Points of View" is a black patinated bronze cast of a model created especially for it on a scale of 1:1. The dynamic structure consists of three columnar rotating bodies that seem to grow out of a square bronze plate at the corners of an imaginary triangle. The vertical and spiralling forms have a water-like quality, evoked by the mirror-smooth surface and the flowing transitions between the undulating forms, which appear flat, curved and partly angular. Again and again, there are points of contact where the individual bronze strands merge with each other.

The 110 cm high sculpture "Points of View" is a black patinated bronze cast of a model created especially for it on a scale of 1:1. The dynamic structure consists of three columnar rotating bodies that seem to grow out of a square bronze plate at the corners of an imaginary triangle. The vertical and spiralling forms have a water-like quality, evoked by the mirror-smooth surface and the flowing transitions between the undulating forms, which appear flat, curved and partly angular. Again and again, there are points of contact where the individual bronze strands merge with each other.

The 110 cm high sculpture "Points of View" is a black patinated bronze cast of a model created especially for it on a scale of 1:1. The dynamic structure consists of three columnar rotating bodies that seem to grow out of a square bronze plate at the corners of an imaginary triangle. The vertical and spiralling forms have a water-like quality, evoked by the mirror-smooth surface and the flowing transitions between the undulating forms, which appear flat, curved and partly angular. Again and again, there are points of contact where the individual bronze strands merge with each other.

The 110 cm high sculpture "Points of View" is a black patinated bronze cast of a model created especially for it on a scale of 1:1. The dynamic structure consists of three columnar rotating bodies that seem to grow out of a square bronze plate at the corners of an imaginary triangle. The vertical and spiralling forms have a water-like quality, evoked by the mirror-smooth surface and the flowing transitions between the undulating forms, which appear flat, curved and partly angular. Again and again, there are points of contact where the individual bronze strands merge with each other.

Setareh_2021_12_08_42419
Installation View Hartung

Hans Hartung
T1975-E47, 1975
Acrylic on canvas
111 x 180 cm

Hans Hartung
T1975-E47, 1975
Acrylic on canvas
111 x 180 cm

Hans Hartung
T1975-E47, 1975
Acrylic on canvas
111 x 180 cm

Hans Hartung
T1975-E47, 1975
Acrylic on canvas
111 x 180 cm

Hans Hartung
T1975-E47, 1975
Acrylic on canvas
111 x 180 cm

Hans Hartung's work confronts the viewer with a dominant bright orange. The powerful shade is covered by broad dark brown and blue traces of dark paint applied with a roller only to the extent that the intense orange background colour shines through the transparent structure of the colour stripes. In the reduced and yet very effective composition, several different pictorial planes are created, which lend a certain spatial depth to the otherwise graphic work. Hartung's work "T1975- E47" was created in the 1970s, period that revealed an artistic rethinking in his oeuvre. The previous gestural removal of paint changes towards a graphic application of colour.

Hans Hartung's work confronts the viewer with a dominant bright orange. The powerful shade is covered by broad dark brown and blue traces of dark paint applied with a roller only to the extent that the intense orange background colour shines through the transparent structure of the colour stripes. In the reduced and yet very effective composition, several different pictorial planes are created, which lend a certain spatial depth to the otherwise graphic work. Hartung's work "T1975- E47" was created in the 1970s, period that revealed an artistic rethinking in his oeuvre. The previous gestural removal of paint changes towards a graphic application of colour.

Hans Hartung's work confronts the viewer with a dominant bright orange. The powerful shade is covered by broad dark brown and blue traces of dark paint applied with a roller only to the extent that the intense orange background colour shines through the transparent structure of the colour stripes. In the reduced and yet very effective composition, several different pictorial planes are created, which lend a certain spatial depth to the otherwise graphic work. Hartung's work "T1975- E47" was created in the 1970s, period that revealed an artistic rethinking in his oeuvre. The previous gestural removal of paint changes towards a graphic application of colour.

Hans Hartung's work confronts the viewer with a dominant bright orange. The powerful shade is covered by broad dark brown and blue traces of dark paint applied with a roller only to the extent that the intense orange background colour shines through the transparent structure of the colour stripes. In the reduced and yet very effective composition, several different pictorial planes are created, which lend a certain spatial depth to the otherwise graphic work. Hartung's work "T1975- E47" was created in the 1970s, period that revealed an artistic rethinking in his oeuvre. The previous gestural removal of paint changes towards a graphic application of colour.

Hans Hartung's work confronts the viewer with a dominant bright orange. The powerful shade is covered by broad dark brown and blue traces of dark paint applied with a roller only to the extent that the intense orange background colour shines through the transparent structure of the colour stripes. In the reduced and yet very effective composition, several different pictorial planes are created, which lend a certain spatial depth to the otherwise graphic work. Hartung's work "T1975- E47" was created in the 1970s, period that revealed an artistic rethinking in his oeuvre. The previous gestural removal of paint changes towards a graphic application of colour.

Saura, Antonio, Saeta, 1957, Öl_auf_Leinwand, 195 x 113,5 cm, Installation_view_1

Antonia Saura
Saeta, 1957
Oil on canvas
195 x 113,5 cm

Antonia Saura
Saeta, 1957
Oil on canvas
195 x 113,5 cm

Antonia Saura
Saeta, 1957
Oil on canvas
195 x 113,5 cm

Antonia Saura
Saeta, 1957
Oil on canvas
195 x 113,5 cm

Antonia Saura
Saeta, 1957
Oil on canvas
195 x 113,5 cm

Saura, Antonio, Saeta, 1957, Öl_auf_Leinwand, 195 x 113,5 cm
Saura, Antonio, Saeta, 1957, Öl_auf_Leinwand, 195 x 113,5 cm, Installation_view_2

With the work "Saeta", which was shown at documenta II, Saura limits himself to a reduced colour palette in shades of black and grey. The gestural and fundamentally abstract brushstrokes, spread from the upper right to the lower centre of the picture, evoking the impression of a portrait. Imagined heads and figures are often the starting point for Saura's painting. n this specific work, on the other hand, Saura dissolves the figuration to such an extent that mainly all colour, painting and structure effects are in the foreground. Thus, he transfers the "Informel" expression into his own pictorial language.
 

With the work "Saeta", which was shown at documenta II, Saura limits himself to a reduced colour palette in shades of black and grey. The gestural and fundamentally abstract brushstrokes, spread from the upper right to the lower centre of the picture, evoking the impression of a portrait. Imagined heads and figures are often the starting point for Saura's painting. n this specific work, on the other hand, Saura dissolves the figuration to such an extent that mainly all colour, painting and structure effects are in the foreground. Thus, he transfers the "Informel" expression into his own pictorial language.
 

With the work "Saeta", which was shown at documenta II, Saura limits himself to a reduced colour palette in shades of black and grey. The gestural and fundamentally abstract brushstrokes, spread from the upper right to the lower centre of the picture, evoking the impression of a portrait. Imagined heads and figures are often the starting point for Saura's painting. n this specific work, on the other hand, Saura dissolves the figuration to such an extent that mainly all colour, painting and structure effects are in the foreground. Thus, he transfers the "Informel" expression into his own pictorial language.
 

With the work "Saeta", which was shown at documenta II, Saura limits himself to a reduced colour palette in shades of black and grey. The gestural and fundamentally abstract brushstrokes, spread from the upper right to the lower centre of the picture, evoking the impression of a portrait. Imagined heads and figures are often the starting point for Saura's painting. n this specific work, on the other hand, Saura dissolves the figuration to such an extent that mainly all colour, painting and structure effects are in the foreground. Thus, he transfers the "Informel" expression into his own pictorial language.
 

With the work "Saeta", which was shown at documenta II, Saura limits himself to a reduced colour palette in shades of black and grey. The gestural and fundamentally abstract brushstrokes, spread from the upper right to the lower centre of the picture, evoking the impression of a portrait. Imagined heads and figures are often the starting point for Saura's painting. n this specific work, on the other hand, Saura dissolves the figuration to such an extent that mainly all colour, painting and structure effects are in the foreground. Thus, he transfers the "Informel" expression into his own pictorial language.
 

Setareh_2021_12_08_42427
Lanskoy, André, Composition, Baigneuses_de_lòcéan_glaciale, 1951, Öl_auf_Leinwand, 81 x 116 cm, Installation_view_1

André Lanskoy
Compositions, Baigneuses de l‘océan glaciale, 1951
Oil on canvas
81 x 116 cm

André Lanskoy
Compositions, Baigneuses de l‘océan glaciale, 1951
Oil on canvas
81 x 116 cm

André Lanskoy
Compositions, Baigneuses de l‘océan glaciale, 1951
Oil on canvas
81 x 116 cm

André Lanskoy
Compositions, Baigneuses de l‘océan glaciale, 1951
Oil on canvas
81 x 116 cm

André Lanskoy
Compositions, Baigneuses de l‘océan glaciale, 1951
Oil on canvas
81 x 116 cm

Lanskoy, André, Composition, Baigneuses_de_lòcéan_glaciale, 1951, Öl_auf_Leinwand, 81 x 116 cm
Lanskoy, André, Composition, Baigneuses_de_lòcéan_glaciale, 1951, Öl_auf_Leinwand, 81 x 116 cm, Installation_view_2

André Lanskoy, who, due to his lyrical works, is considered a Tachisme artist, focuses on the colouring of his patterns. His works are characterised by powerful luminous colours in a pictorial composition created by filling in abstract linear forms. He concentrated on creating patterns and rhythms of colour and light in his works as well as painting collages, mosaics, illustrated books and tapestries.

André Lanskoy, who, due to his lyrical works, is considered a Tachisme artist, focuses on the colouring of his patterns. His works are characterised by powerful luminous colours in a pictorial composition created by filling in abstract linear forms. He concentrated on creating patterns and rhythms of colour and light in his works as well as painting collages, mosaics, illustrated books and tapestries.

André Lanskoy, who, due to his lyrical works, is considered a Tachisme artist, focuses on the colouring of his patterns. His works are characterised by powerful luminous colours in a pictorial composition created by filling in abstract linear forms. He concentrated on creating patterns and rhythms of colour and light in his works as well as painting collages, mosaics, illustrated books and tapestries.

André Lanskoy, who, due to his lyrical works, is considered a Tachisme artist, focuses on the colouring of his patterns. His works are characterised by powerful luminous colours in a pictorial composition created by filling in abstract linear forms. He concentrated on creating patterns and rhythms of colour and light in his works as well as painting collages, mosaics, illustrated books and tapestries.

André Lanskoy, who, due to his lyrical works, is considered a Tachisme artist, focuses on the colouring of his patterns. His works are characterised by powerful luminous colours in a pictorial composition created by filling in abstract linear forms. He concentrated on creating patterns and rhythms of colour and light in his works as well as painting collages, mosaics, illustrated books and tapestries.

Setareh_2021_12_08_42598
Riopelle, Jean-Paul, Taillis, 1957, Öl_auf_Leinwand, 63,2 x 73,7 cm
Riopelle, Jean-Paul, Taillis, 1957, Öl_auf_Leinwand, 63,2 x 73,7 cm, Installation_view_2
Riopelle, Jean-Paul, Taillis, 1957, Öl_auf_Leinwand, 63,2 x 73,7 cm, Installation_view_1

Jean-Paul Riopelle
Taillis, 1957
Oil on canvas
63,2 x 73,7 cm

Jean-Paul Riopelle
Taillis, 1957
Oil on canvas
63,2 x 73,7 cm

Jean-Paul Riopelle
Taillis, 1957
Oil on canvas
63,2 x 73,7 cm

Jean-Paul Riopelle
Taillis, 1957
Oil on canvas
63,2 x 73,7 cm

Jean-Paul Riopelle
Taillis, 1957
Oil on canvas
63,2 x 73,7 cm

"Taillis" - translated thicket - illustrates the gestural and impulsive working method of Jean-Paul Riopelle, who negated the brush as an artistic tool from 1949 onwards. With several tubes in one hand and a palette knife in the other, he applied colours in impasto layers to the canvas ever since. The work, which was exhibited in 1958 in the large retrospective at the Kölnischer Kunstverein (cf. Kölnischer Kunstverein, Riopelle, 1958, cat. no. 35), shows three central elements of his artistic creative phase from the 1950s onwards: Volume, colour and a partly matt-glossy paint surface. Powerful and rich red, blue and white tones are broken up by deep black stripes. Through the use of a luminous and intense colour palette, the work develops a strong presence.

"Taillis" - translated thicket - illustrates the gestural and impulsive working method of Jean-Paul Riopelle, who negated the brush as an artistic tool from 1949 onwards. With several tubes in one hand and a palette knife in the other, he applied colours in impasto layers to the canvas ever since. The work, which was exhibited in 1958 in the large retrospective at the Kölnischer Kunstverein (cf. Kölnischer Kunstverein, Riopelle, 1958, cat. no. 35), shows three central elements of his artistic creative phase from the 1950s onwards: Volume, colour and a partly matt-glossy paint surface. Powerful and rich red, blue and white tones are broken up by deep black stripes. Through the use of a luminous and intense colour palette, the work develops a strong presence.

"Taillis" - translated thicket - illustrates the gestural and impulsive working method of Jean-Paul Riopelle, who negated the brush as an artistic tool from 1949 onwards. With several tubes in one hand and a palette knife in the other, he applied colours in impasto layers to the canvas ever since. The work, which was exhibited in 1958 in the large retrospective at the Kölnischer Kunstverein (cf. Kölnischer Kunstverein, Riopelle, 1958, cat. no. 35), shows three central elements of his artistic creative phase from the 1950s onwards: Volume, colour and a partly matt-glossy paint surface. Powerful and rich red, blue and white tones are broken up by deep black stripes. Through the use of a luminous and intense colour palette, the work develops a strong presence.

"Taillis" - translated thicket - illustrates the gestural and impulsive working method of Jean-Paul Riopelle, who negated the brush as an artistic tool from 1949 onwards. With several tubes in one hand and a palette knife in the other, he applied colours in impasto layers to the canvas ever since. The work, which was exhibited in 1958 in the large retrospective at the Kölnischer Kunstverein (cf. Kölnischer Kunstverein, Riopelle, 1958, cat. no. 35), shows three central elements of his artistic creative phase from the 1950s onwards: Volume, colour and a partly matt-glossy paint surface. Powerful and rich red, blue and white tones are broken up by deep black stripes. Through the use of a luminous and intense colour palette, the work develops a strong presence.

"Taillis" - translated thicket - illustrates the gestural and impulsive working method of Jean-Paul Riopelle, who negated the brush as an artistic tool from 1949 onwards. With several tubes in one hand and a palette knife in the other, he applied colours in impasto layers to the canvas ever since. The work, which was exhibited in 1958 in the large retrospective at the Kölnischer Kunstverein (cf. Kölnischer Kunstverein, Riopelle, 1958, cat. no. 35), shows three central elements of his artistic creative phase from the 1950s onwards: Volume, colour and a partly matt-glossy paint surface. Powerful and rich red, blue and white tones are broken up by deep black stripes. Through the use of a luminous and intense colour palette, the work develops a strong presence.

Magritte, René, La_saveur_des_larmes, ca. 1951, Gouache_auf_Papier, 45,5 x 36 cm, Installation_view_1

René Magritte
La saveur des larmes, ca. 1951
Gouache on Paper, 45,5 x 36 cm

René Magritte
La saveur des larmes, ca. 1951
Gouache on Paper, 45,5 x 36 cm

René Magritte
La saveur des larmes, ca. 1951
Gouache on Paper, 45,5 x 36 cm

René Magritte
La saveur des larmes, ca. 1951
Gouache on Paper, 45,5 x 36 cm

René Magritte
La saveur des larmes, ca. 1951
Gouache on paper
45,5 x 36 cm

Magritte, René, La_saveur_des_larmes, ca. 1951, Gouache_auf_Papier, 45,5 x 36 cm, Installation_view_2

This work is the culmination and the last version of a series of several motifs with the same title (1946-1951).

This work is the culmination and the last version of a series of several motifs with the same title (1946-1951).

This work is the culmination and the last version of a series of several motifs with the same title (1946-1951).

This work is the culmination and the last version of a series of several motifs with the same title (1946-1951).

This work is the culmination and the last version of a series of several motifs with the same title (1946-1951).

In the centre of the painting "La saveur des larmes" (The Taste of Tears), an anthropomorphic bird emerges from a bush of leaves. The poetically surreal scene is set on an earthy ground, visible in the foreground, in front of a vast seascape in the background of the left half of the picture. A group of blue leaves, rooted in the ground, is backed by a red curtain in the right half of the picture. The body of the bird, which looks like a statue, is pierced with holes that open up a view of the sky behind it. A caterpillar is sitting on its left edge. The metamorphotic fusion of plant, animal and human is complemented by the motif of the curtain, which acts as a theatrical framing element it reveals the illusionistic effect, creating a spatialisation of the scene into the viewer's space, as in old master trompe-l'oeil painting.

In the centre of the painting "La saveur des larmes" (The Taste of Tears), an anthropomorphic bird emerges from a bush of leaves. The poetically surreal scene is set on an earthy ground, visible in the foreground, in front of a vast seascape in the background of the left half of the picture. A group of blue leaves, rooted in the ground, is backed by a red curtain in the right half of the picture. The body of the bird, which looks like a statue, is pierced with holes that open up a view of the sky behind it. A caterpillar is sitting on its left edge. The metamorphotic fusion of plant, animal and human is complemented by the motif of the curtain, which acts as a theatrical framing element it reveals the illusionistic effect, creating a spatialisation of the scene into the viewer's space, as in old master trompe-l'oeil painting.

In the centre of the painting "La saveur des larmes" (The Taste of Tears), an anthropomorphic bird emerges from a bush of leaves. The poetically surreal scene is set on an earthy ground, visible in the foreground, in front of a vast seascape in the background of the left half of the picture. A group of blue leaves, rooted in the ground, is backed by a red curtain in the right half of the picture. The body of the bird, which looks like a statue, is pierced with holes that open up a view of the sky behind it. A caterpillar is sitting on its left edge. The metamorphotic fusion of plant, animal and human is complemented by the motif of the curtain, which acts as a theatrical framing element it reveals the illusionistic effect, creating a spatialisation of the scene into the viewer's space, as in old master trompe-l'oeil painting.

In the centre of the painting "La saveur des larmes" (The Taste of Tears), an anthropomorphic bird emerges from a bush of leaves. The poetically surreal scene is set on an earthy ground, visible in the foreground, in front of a vast seascape in the background of the left half of the picture. A group of blue leaves, rooted in the ground, is backed by a red curtain in the right half of the picture. The body of the bird, which looks like a statue, is pierced with holes that open up a view of the sky behind it. A caterpillar is sitting on its left edge. The metamorphotic fusion of plant, animal and human is complemented by the motif of the curtain, which acts as a theatrical framing element it reveals the illusionistic effect, creating a spatialisation of the scene into the viewer's space, as in old master trompe-l'oeil painting.

In the centre of the painting "La saveur des larmes" (The Taste of Tears), an anthropomorphic bird emerges from a bush of leaves. The poetically surreal scene is set on an earthy ground, visible in the foreground, in front of a vast seascape in the background of the left half of the picture. A group of blue leaves, rooted in the ground, is backed by a red curtain in the right half of the picture. The body of the bird, which looks like a statue, is pierced with holes that open up a view of the sky behind it. A caterpillar is sitting on its left edge. The metamorphotic fusion of plant, animal and human is complemented by the motif of the curtain, which acts as a theatrical framing element it reveals the illusionistic effect, creating a spatialisation of the scene into the viewer's space, as in old master trompe-l'oeil painting.

Vasarely, Victor, ERRO, 1986, Acrylic_on_canvas, 212 x 212 cm, Installation_view_1

Victor Vasarely
ERRO, 1986
Acrylic on canvas
212 x 212 cm

Victor Vasarely
ERRO, 1986
Acrylic on canvas
212 x 212 cm

Victor Vasarely
ERRO, 1986
Acrylic on canvas
212 x 212 cm

Victor Vasarely
ERRO, 1986
Acrylic on canvas
212 x 212 cm

Victor Vasarely
ERRO, 1986
Acrylic on canvas
212 x 212 cm

Vasarely, Victor, ERRO, 1986, Acrylic_on_canvas, 212 x 212 cm
Vasarely, Victor, ERRO, 1986, Acrylic_on_canvas, 212 x 212 cm, Installation_view_2

Victor Vasarely's "ERRO" puts tests the visual perception of the viewer. What Vasarely painted in the 1980s is more topical than ever and strongly reminiscent of the digital aesthetics of the present. The canvas, 212 x 212 cm, covered by a square grid, is divided by four colour gradations within into four squares, whose grid fields expand towards their respective centre. This creates the impression of a hemisphere arching forward from the canvas. Vasarely paints optical effects that blur the boundaries between two and three dimensions.

Victor Vasarely's "ERRO" puts tests the visual perception of the viewer. What Vasarely painted in the 1980s is more topical than ever and strongly reminiscent of the digital aesthetics of the present. The canvas, 212 x 212 cm, covered by a square grid, is divided by four colour gradations within into four squares, whose grid fields expand towards their respective centre. This creates the impression of a hemisphere arching forward from the canvas. Vasarely paints optical effects that blur the boundaries between two and three dimensions.

Victor Vasarely's "ERRO" puts tests the visual perception of the viewer. What Vasarely painted in the 1980s is more topical than ever and strongly reminiscent of the digital aesthetics of the present. The canvas, 212 x 212 cm, covered by a square grid, is divided by four colour gradations within into four squares, whose grid fields expand towards their respective centre. This creates the impression of a hemisphere arching forward from the canvas. Vasarely paints optical effects that blur the boundaries between two and three dimensions.

Victor Vasarely's "ERRO" puts tests the visual perception of the viewer. What Vasarely painted in the 1980s is more topical than ever and strongly reminiscent of the digital aesthetics of the present. The canvas, 212 x 212 cm, covered by a square grid, is divided by four colour gradations within into four squares, whose grid fields expand towards their respective centre. This creates the impression of a hemisphere arching forward from the canvas. Vasarely paints optical effects that blur the boundaries between two and three dimensions.

Victor Vasarely's "ERRO" puts tests the visual perception of the viewer. What Vasarely painted in the 1980s is more topical than ever and strongly reminiscent of the digital aesthetics of the present. The canvas, 212 x 212 cm, covered by a square grid, is divided by four colour gradations within into four squares, whose grid fields expand towards their respective centre. This creates the impression of a hemisphere arching forward from the canvas. Vasarely paints optical effects that blur the boundaries between two and three dimensions.

Vasarely plays with sizes, brightness and colour values to enhance the effect of visual.
Reinforce three-dimensionality 

Vasarely plays with sizes, brightness and colour values to enhance the effect of visual.
Reinforce three-dimensionality 

Vasarely plays with sizes, brightness and colour values to enhance the effect of visual.
Reinforce three-dimensionality 

Vasarely plays with sizes, brightness and colour values to enhance the effect of visual.
Reinforce three-dimensionality 


Vasarely plays with sizes, brightness and colour values to enhance the effect of visual.
Reinforce three-dimensionality 

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 +49-211-82827171
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 +49-211-82827171
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+49-211-82827171
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 +49-211-82827171
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 +49-211-82827171
info(at)setareh.com

Königsallee 31
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Mon-Fri: 10-7 pm, Sat: 10-6 pm
+49-211-82827171
info(at)setareh.com

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info(at)setareh-x.com

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+49-211-86817272
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+49-211-86817272
info(at)setareh-x.com

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+49-30-23005133
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10785 Berlin, Germany

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+49-30-23005133
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