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Claes OldenburgHanging woman (drawing) Claes Oldenburg marker portrait of upside down woman 1976
1976
About the Item
Claes Oldenburg framed drawing on matboard picturing a woman hanging from some kind of wire or rope, held up by a pulley. The Hanging Woman is a recurring motif in Oldenburg's work, with sculptural representations such as Street Chick (Hanging), 1960, and in print as in his 1976 series of erotic etchings. This drawing is sketched confidently in marker, scribbles encircling the woman's inverted body. Her eyes are two starry asterisks rendering her face an expressionless mask. This drawing is signed by the artist with initials, lower right in marker.
Frame 48 x 38 x 1.5 in.
Image 38 x 28.5
Condition: significant aging of the tone, numerous creases and discolorations as photographed.
- Creator:Claes Oldenburg (1929, American, Swedish)
- Creation Year:1976
- Dimensions:Height: 50 in (127 cm)Width: 35 in (88.9 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:Condition: significant aging of mat board's tone, numerous creases and discolorations as photographed.
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU1211211197732
Claes Oldenburg
One of the original Pop artists, Claes Oldenburg was born in Stockholm. The son of a Swedish diplomat, he spent his early years in Stockholm and Oslo until the family moved to Chicago in 1937.
Oldenburg attended Yale University, then returned to Chicago, where he worked for a newspaper and also attended drawing classes at the Art Institute. He moved to New York in 1956.
Oldenburg’s early art in New York were works of urban realism in cardboard and paper that were influenced by the work of Dubuffet and the New Realists, and were seen as a brutal response to society. In 1961 Oldenburg rented a storefront on the Lower East Side and sold brightly painted plaster objects as well as three-dimensional and wall reliefs based on hamburgers, pastries, men's and women's clothing, and other commodities. The signature soft sculptures followed, objects of commonplace household objects made of vinyl or canvas stuffed with kapok. These pieces transformed the medium — the soft sculptures are intended to be sensual experiences and commentary on our material world of objects and our relationship to them.
In 1965, still working in vinyl, plaster and cardboard, Oldenburg began making large works termed “Colossal Monuments,” which are large public sculptures with public and private meanings. In the 1970s, Oldenburg was fabricating large-scale works in durable materials such as steel, and working with Coosje van Bruggen, he had received many such public commissions in the United States and Europe.
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(Biography provided by Art Commerce)
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