Otto PieneRetinal SunOil and traces of fire on canvas. 150 x 150 cm. Framed. Each signed, dated

Otto Piene
Retinal Sun
Oil and traces of fire on canvas. 150 x 150 cm. Framed. Each signed, dated and titled '"Retinal Sun" OPiene' (ligated) '73' verso on canvas and stretcher. - Traces of studio and minor traces of age.

Provenance
Galerie Löhrl, Mönchengladbach; private collection, Bavaria

Literature
Ante Glibota, Otto Piene, Villorba 2011, p.153 with colour illus. (illus. upside down)

Lawrence Alloway analyses Piene's fire pictures as follows: “The physical process by with the painting is formed as a structure makes references to events or objects beyond its evident traces. Forms emerge from the process of flow and from the unification of fire […] The sudden arrest of burning results in pools, tongues, and crests with a morphological resemblance to other suddenly frozen processes. These […] forms, relating to both flow dynamics and rock formation, continue the solar, floral and aerial iconography of his earlier paintings.” (quoted from Udo Kultermann, Feuer im Werk von Otto Piene, das Elementare und die neue Sensibilität, in: Stephan van Wiese, Susanne Rennert, Otto Piene, Retrospektive 1952-1996, exhib.cat. Kunstmuseum Düsseldorf 1996, p. 27).
The large format fire picture 'Retinal sun' offered here illustrates these observations and simultaneously shows how these artistic associations found their way into the titles of the artist's work. The central burnt circle creates an oscillating silvery blue 'iris' surrounding an 'eye' with a multi-layered 'retina'. The clouds of smoke which are created in the production process have manifested themselves in illusionary, vibrant traces on the canvas giving the impression that the centre is continually smouldering.
The majority of Piene's fire pictures maintain their presence through the strong contrasts of the black burn marks and the white or intensely coloured backgrounds. However, with its markedly reduced colouring and subtle transitions of colour and veils of smoke, ''Retinal sun'' offers us an aesthetically cool pictorial language, and thereby holds an unusual position in the artist's oeuvre.

Otto Piene
Retinal Sun
Öl und Feuerspuren auf Leinwand. 150 x 150 cm. Gerahmt. Rückseitig auf der Leinwand und auf dem Keilrahmen jeweils signiert, datiert und betitelt '"Retinal Sun" OPiene' (ligiert) '73'. - Mit Atelier- und leichten Altersspuren.

Provenienz
Galerie Löhrl, Mönchengladbach; Privatsammlung, Bayern

Literatur
Ante Glibota, Otto Piene, Villorba 2011, S.153 mit Farbabb. (Abb. steht auf dem Kopf)

Lawrence Alloway analysiert die Feuerbilder Pienes folgendermaßen: "The physical process by with the painting is formed as a structure makes references to events or objects beyond its evident traces. Forms emerge from the process of flow and from the unification of fire […] The sudden arrest of burning results in pools, tongues, and crests with a morphological resemblance to other suddenly frozen processes. These […] forms, relating to both flow dynamics and rock formation, continue the solar, floral and aerial iconography of his earlier paintings.” (zit. nach Udo Kultermann, Feuer im Werk von Otto Piene, das Elementare und die neue Sensibilität, in: Stephan von Wiese, Susanne Rennert, Otto Piene, Retrospektive 1952-1996, Ausst.Kat. Kunstmuseum Düsseldorf, Düsseldorf 1996, S.27).
Das hier angebotene großformatige Feuerbild „Retinal sun“ verdeutlicht diese Beobachtungen und zeigt zugleich, wie diese bildnerischen Assoziationen auch Eingang in die Werktitel des Künstlers fanden. Der zentral angelegte Brandkreis lässt ein von einer vibrierenden blausilbrigen „Iris“ umgebendes „Auge“ mit einer vielschichtigen „Netzhaut“ (Retina) entstehen. Die beim Entstehungsprozess aufgestiegenen Rauchschwaden haben sich auf der Leinwand in unwirklich zarten, lebendigen Spuren manifestiert, die den Eindruck eines stetigen Schwelens dieses Zentrums