622
Otto PieneRoter SturmGouache and traces of fire on cardboard. 68 x 95.5 cm. Framed under glass.
Auctioneer has chosen not to publish the price of this lot
Köln
Description
Otto Piene
Roter Sturm
Gouache and traces of fire on cardboard. 68 x 95.5 cm. Framed under glass. Signed, dated and titled ' - roter Sturm - OPiene (ligated) 64'. - Traces of studio and the edges verso with adhesive remnants due to former mounting.
Provenance
Private collection, Germany
At the end of the 1950s, Otto Piene developed a completely new painting technique with his smoke drawings and pictures which were shortly followed by the fire pictures. To produce the smoke drawings and pictures he guided the smoke from a candle or a petroleum lamp through grid sieves to create smoke dots and veils on the picture plane. The fire pictures resulted from setting fire to solvents, oil paints or colour pigments on the picture plane, leading to organic shapes formed by the remnants, bubbles and crusts.
In both instances, Piene reduced his artistic influence in favour of the autonomous development of the picture through the use of flame and smoke. He commented himself on the character of the development processes: ''The smoke signals are not ''signed''. The anonymity of the author remains to a large extent protected. My individual sentiments are not pushed to the foreground and play a minor role (except for increased alertness, ie. sensitivity). I think that the artistic engagement, precisely because of the distance to ones own actions, is at least as large as with drawing in the usual sense. Above all it lies in the observation, the ''strategy'', which steers the tools. I would like to take more of a back seat, to allow my individuality as author to be felt even less, a force such as light to become increasingly superior, so that the materiality is further raised and greater freedom is won. I hope, that with a minimum of physical engagement, far removed from every drama, to reach a space of silence, which, because it is powerful recognisable, invites one to linger.
As with his grid pictures and wind sculptures, Piene's light sculptures and light ballets also serve the smoke drawings and fire pictures with his decisive artistic goal, ''to make man more open and sensitive to the elements, to make the elements of light and wind more visible to mankind by the beauty of their design.'' (Wulf Herzogenrath, Otto Piene, ein Bauhaus-Meister, in: Wulf Herzogenrath/Annette Piene (ed.), Otto Piene, Kölnischer Kunstverein, Düsseldorf 1973, p. VIII). Through contemporary technical means, Piene pooled the strengths of the natural elements such as light, fire and air in his oeuvre, and through the process of control made them the constitutive players.
Otto Piene
Roter Sturm
Gouache und Feuerspuren auf Karton. 68 x 95,5 cm. Unter Glas gerahmt. Signiert, datiert und betitelt ' - roter Sturm - OPiene (ligiert) 64'. - Mit Atelierspuren sowie rückseitig die Ränder umlaufend mit Kleberesten einer ehemaligen Montierung.
Provenienz
Privatsammlung, Deutschland
Ende der 1950er Jahre entwickelte Otto Piene mit seinen Rauchzeichnungen und Rauchbildern eine gänzlich neue Maltechnik, aus der wenig später die Feuerbilder hervorgingen. Für die Rauchzeichnungen und -bilder leitete er den Rauch einer Kerze oder Petroleumlampe durch Rastersiebe, um individuelle Rauchpunkte und -schlieren auf dem Bildträger entstehen zu lassen. Die Feuerbilder resultierten aus dem Abbrennen von Fixativ, Ölfarbe oder Farbpigmenten auf dem Bildträger, was zu organischen Formen aus Ausbrennungen, Blasen und Krusten führte.
In beiden Fällen reduzierte Piene dabei seinen künstlerischen Einfluss zugunsten einer weitgehend autonomen Entwicklung des Bildes durch den Einsatz von Flammen und Rauch. Er selbst äußerte sich folgendermaßen zum Charakter dieser Entstehungsprozesse: „Die Rauchzeichen sind ohne „Handschrift”. Die Anonymität des Autors bleibt weitgehend gewahrt. Meine individuellen Stimmungen drängten sich nicht in den Vordergrund und spielen eine geringe Rolle (außer
Roter Sturm
Gouache and traces of fire on cardboard. 68 x 95.5 cm. Framed under glass. Signed, dated and titled ' - roter Sturm - OPiene (ligated) 64'. - Traces of studio and the edges verso with adhesive remnants due to former mounting.
Provenance
Private collection, Germany
At the end of the 1950s, Otto Piene developed a completely new painting technique with his smoke drawings and pictures which were shortly followed by the fire pictures. To produce the smoke drawings and pictures he guided the smoke from a candle or a petroleum lamp through grid sieves to create smoke dots and veils on the picture plane. The fire pictures resulted from setting fire to solvents, oil paints or colour pigments on the picture plane, leading to organic shapes formed by the remnants, bubbles and crusts.
In both instances, Piene reduced his artistic influence in favour of the autonomous development of the picture through the use of flame and smoke. He commented himself on the character of the development processes: ''The smoke signals are not ''signed''. The anonymity of the author remains to a large extent protected. My individual sentiments are not pushed to the foreground and play a minor role (except for increased alertness, ie. sensitivity). I think that the artistic engagement, precisely because of the distance to ones own actions, is at least as large as with drawing in the usual sense. Above all it lies in the observation, the ''strategy'', which steers the tools. I would like to take more of a back seat, to allow my individuality as author to be felt even less, a force such as light to become increasingly superior, so that the materiality is further raised and greater freedom is won. I hope, that with a minimum of physical engagement, far removed from every drama, to reach a space of silence, which, because it is powerful recognisable, invites one to linger.
As with his grid pictures and wind sculptures, Piene's light sculptures and light ballets also serve the smoke drawings and fire pictures with his decisive artistic goal, ''to make man more open and sensitive to the elements, to make the elements of light and wind more visible to mankind by the beauty of their design.'' (Wulf Herzogenrath, Otto Piene, ein Bauhaus-Meister, in: Wulf Herzogenrath/Annette Piene (ed.), Otto Piene, Kölnischer Kunstverein, Düsseldorf 1973, p. VIII). Through contemporary technical means, Piene pooled the strengths of the natural elements such as light, fire and air in his oeuvre, and through the process of control made them the constitutive players.
Otto Piene
Roter Sturm
Gouache und Feuerspuren auf Karton. 68 x 95,5 cm. Unter Glas gerahmt. Signiert, datiert und betitelt ' - roter Sturm - OPiene (ligiert) 64'. - Mit Atelierspuren sowie rückseitig die Ränder umlaufend mit Kleberesten einer ehemaligen Montierung.
Provenienz
Privatsammlung, Deutschland
Ende der 1950er Jahre entwickelte Otto Piene mit seinen Rauchzeichnungen und Rauchbildern eine gänzlich neue Maltechnik, aus der wenig später die Feuerbilder hervorgingen. Für die Rauchzeichnungen und -bilder leitete er den Rauch einer Kerze oder Petroleumlampe durch Rastersiebe, um individuelle Rauchpunkte und -schlieren auf dem Bildträger entstehen zu lassen. Die Feuerbilder resultierten aus dem Abbrennen von Fixativ, Ölfarbe oder Farbpigmenten auf dem Bildträger, was zu organischen Formen aus Ausbrennungen, Blasen und Krusten führte.
In beiden Fällen reduzierte Piene dabei seinen künstlerischen Einfluss zugunsten einer weitgehend autonomen Entwicklung des Bildes durch den Einsatz von Flammen und Rauch. Er selbst äußerte sich folgendermaßen zum Charakter dieser Entstehungsprozesse: „Die Rauchzeichen sind ohne „Handschrift”. Die Anonymität des Autors bleibt weitgehend gewahrt. Meine individuellen Stimmungen drängten sich nicht in den Vordergrund und spielen eine geringe Rolle (außer
Auction Details
Shipping
T&Cs & Important Info
Ask seller a question
Otto Piene
Roter Sturm
Gouache and traces of fire on cardboard. 68 x 95.5 cm. Framed under glass. Signed, dated and titled ' - roter Sturm - OPiene (ligated) 64'. - Traces of studio and the edges verso with adhesive remnants due to former mounting.
Provenance
Private collection, Germany
At the end of the 1950s, Otto Piene developed a completely new painting technique with his smoke drawings and pictures which were shortly followed by the fire pictures. To produce the smoke drawings and pictures he guided the smoke from a candle or a petroleum lamp through grid sieves to create smoke dots and veils on the picture plane. The fire pictures resulted from setting fire to solvents, oil paints or colour pigments on the picture plane, leading to organic shapes formed by the remnants, bubbles and crusts.
In both instances, Piene reduced his artistic influence in favour of the autonomous development of the picture through the use of flame and smoke. He commented himself on the character of the development processes: ''The smoke signals are not ''signed''. The anonymity of the author remains to a large extent protected. My individual sentiments are not pushed to the foreground and play a minor role (except for increased alertness, ie. sensitivity). I think that the artistic engagement, precisely because of the distance to ones own actions, is at least as large as with drawing in the usual sense. Above all it lies in the observation, the ''strategy'', which steers the tools. I would like to take more of a back seat, to allow my individuality as author to be felt even less, a force such as light to become increasingly superior, so that the materiality is further raised and greater freedom is won. I hope, that with a minimum of physical engagement, far removed from every drama, to reach a space of silence, which, because it is powerful recognisable, invites one to linger.
As with his grid pictures and wind sculptures, Piene's light sculptures and light ballets also serve the smoke drawings and fire pictures with his decisive artistic goal, ''to make man more open and sensitive to the elements, to make the elements of light and wind more visible to mankind by the beauty of their design.'' (Wulf Herzogenrath, Otto Piene, ein Bauhaus-Meister, in: Wulf Herzogenrath/Annette Piene (ed.), Otto Piene, Kölnischer Kunstverein, Düsseldorf 1973, p. VIII). Through contemporary technical means, Piene pooled the strengths of the natural elements such as light, fire and air in his oeuvre, and through the process of control made them the constitutive players.
Otto Piene
Roter Sturm
Gouache und Feuerspuren auf Karton. 68 x 95,5 cm. Unter Glas gerahmt. Signiert, datiert und betitelt ' - roter Sturm - OPiene (ligiert) 64'. - Mit Atelierspuren sowie rückseitig die Ränder umlaufend mit Kleberesten einer ehemaligen Montierung.
Provenienz
Privatsammlung, Deutschland
Ende der 1950er Jahre entwickelte Otto Piene mit seinen Rauchzeichnungen und Rauchbildern eine gänzlich neue Maltechnik, aus der wenig später die Feuerbilder hervorgingen. Für die Rauchzeichnungen und -bilder leitete er den Rauch einer Kerze oder Petroleumlampe durch Rastersiebe, um individuelle Rauchpunkte und -schlieren auf dem Bildträger entstehen zu lassen. Die Feuerbilder resultierten aus dem Abbrennen von Fixativ, Ölfarbe oder Farbpigmenten auf dem Bildträger, was zu organischen Formen aus Ausbrennungen, Blasen und Krusten führte.
In beiden Fällen reduzierte Piene dabei seinen künstlerischen Einfluss zugunsten einer weitgehend autonomen Entwicklung des Bildes durch den Einsatz von Flammen und Rauch. Er selbst äußerte sich folgendermaßen zum Charakter dieser Entstehungsprozesse: „Die Rauchzeichen sind ohne „Handschrift”. Die Anonymität des Autors bleibt weitgehend gewahrt. Meine individuellen Stimmungen drängten sich nicht in den Vordergrund und spielen eine geringe Rolle (außer
Roter Sturm
Gouache and traces of fire on cardboard. 68 x 95.5 cm. Framed under glass. Signed, dated and titled ' - roter Sturm - OPiene (ligated) 64'. - Traces of studio and the edges verso with adhesive remnants due to former mounting.
Provenance
Private collection, Germany
At the end of the 1950s, Otto Piene developed a completely new painting technique with his smoke drawings and pictures which were shortly followed by the fire pictures. To produce the smoke drawings and pictures he guided the smoke from a candle or a petroleum lamp through grid sieves to create smoke dots and veils on the picture plane. The fire pictures resulted from setting fire to solvents, oil paints or colour pigments on the picture plane, leading to organic shapes formed by the remnants, bubbles and crusts.
In both instances, Piene reduced his artistic influence in favour of the autonomous development of the picture through the use of flame and smoke. He commented himself on the character of the development processes: ''The smoke signals are not ''signed''. The anonymity of the author remains to a large extent protected. My individual sentiments are not pushed to the foreground and play a minor role (except for increased alertness, ie. sensitivity). I think that the artistic engagement, precisely because of the distance to ones own actions, is at least as large as with drawing in the usual sense. Above all it lies in the observation, the ''strategy'', which steers the tools. I would like to take more of a back seat, to allow my individuality as author to be felt even less, a force such as light to become increasingly superior, so that the materiality is further raised and greater freedom is won. I hope, that with a minimum of physical engagement, far removed from every drama, to reach a space of silence, which, because it is powerful recognisable, invites one to linger.
As with his grid pictures and wind sculptures, Piene's light sculptures and light ballets also serve the smoke drawings and fire pictures with his decisive artistic goal, ''to make man more open and sensitive to the elements, to make the elements of light and wind more visible to mankind by the beauty of their design.'' (Wulf Herzogenrath, Otto Piene, ein Bauhaus-Meister, in: Wulf Herzogenrath/Annette Piene (ed.), Otto Piene, Kölnischer Kunstverein, Düsseldorf 1973, p. VIII). Through contemporary technical means, Piene pooled the strengths of the natural elements such as light, fire and air in his oeuvre, and through the process of control made them the constitutive players.
Otto Piene
Roter Sturm
Gouache und Feuerspuren auf Karton. 68 x 95,5 cm. Unter Glas gerahmt. Signiert, datiert und betitelt ' - roter Sturm - OPiene (ligiert) 64'. - Mit Atelierspuren sowie rückseitig die Ränder umlaufend mit Kleberesten einer ehemaligen Montierung.
Provenienz
Privatsammlung, Deutschland
Ende der 1950er Jahre entwickelte Otto Piene mit seinen Rauchzeichnungen und Rauchbildern eine gänzlich neue Maltechnik, aus der wenig später die Feuerbilder hervorgingen. Für die Rauchzeichnungen und -bilder leitete er den Rauch einer Kerze oder Petroleumlampe durch Rastersiebe, um individuelle Rauchpunkte und -schlieren auf dem Bildträger entstehen zu lassen. Die Feuerbilder resultierten aus dem Abbrennen von Fixativ, Ölfarbe oder Farbpigmenten auf dem Bildträger, was zu organischen Formen aus Ausbrennungen, Blasen und Krusten führte.
In beiden Fällen reduzierte Piene dabei seinen künstlerischen Einfluss zugunsten einer weitgehend autonomen Entwicklung des Bildes durch den Einsatz von Flammen und Rauch. Er selbst äußerte sich folgendermaßen zum Charakter dieser Entstehungsprozesse: „Die Rauchzeichen sind ohne „Handschrift”. Die Anonymität des Autors bleibt weitgehend gewahrt. Meine individuellen Stimmungen drängten sich nicht in den Vordergrund und spielen eine geringe Rolle (außer
Contemporary Art I
Sale Date(s)
Venue Address
Neumarkt 3
Köln
50667
Germany
For Kunsthaus Lempertz delivery information please telephone +49 (0)221 9257290.
