Items Similar to Figurative Composition / - Expressive Signs -

Detlef Baltrock - Untitled / - Association -

Alfred Ortega - Alfred Ortega Bold Figurative Abstract Expressionist Oil Monoprint Painting

Lawrence Kupferman - Untitled

Pascal - Abstract composition - Drawing by Pascal - 1960

Claude Tétot - Untitled 4 (Abstract painting)

Claude Tétot - Untitled 4 (Abstract Painting)

Want more images or videos?

Request additional images or videos from the seller

1 of 6

Max Neumann
Figurative Composition / - Expressive Signs -
c. 1970

$653.39

£485.72

€550

CA$898.77

A$1,001.21

CHF 528.12

MX$12,139.97

NOK 6,718.47

SEK 6,258.68

DKK 4,189.21

About the Item

Max Neumann (* 1949 Saarbrücken) and Eta Bender (*1948 Heidelberg), Figurative Composition, around 1970. Mixed media on tracing paper, mounted on thin backing paper, 29.6 cm x 21 cm, signed “Eta Bender” and “Max Neumann” in pink and orange brush upper right and inscribed in pencil below the image. - in good condition - Expressive Signs - At the lower edge of the painting, a red figure has prostrated himself in an attitude of worship. At the top, a red figure appears like an idol in front of a blue background. Characters dissolved in streaks of color are in the middle, and the numbers 30 to 40, initiated with a stamp, are on the right edge. These numbers have the same colorfulness as the dissolved characters. This rare collaboration between Max Naumann and Eta Bender establishes a network of references that is as mysterious as it is significant, carried by the expressive energy of the figures. Both artists have incorporated their names into the artwork. About the artist Max Neumann is one of the most notable contemporary figurative artists. He began his studies at the Werkkunstschule Saarbrücken in 1969 and transferred to the Kunstakademie Karlsruhe the following year. In 1974, he transferred again, this time to the Berlin Academy of Fine Arts, where he graduated in 1976 as a master student of Martin Engelman. Following his first solo exhibition at Georg Nothelfer's gallery in Berlin, Neumann gained international recognition. Leading galleries in Cologne, Madrid, and Paris now represent the artist, whose work has been shown in over 150 solo exhibitions. In the mid-1970s, Neumann adopted an artistic method that he has consistently practiced independently of the trends of his time. He intuitively creates a pictorial structure with watery colors, which he then consciously forms. Due to his interest in literature, Neumann cultivated friendly relationships with numerous writers. He illustrated Cees Nooteboom's poetry collection Abschied, published in 2021. Throughout his career, Max Neumann has received numerous awards. In 1982, he received the Charlottenburg Art Prize; in 1983, he won the BDI Prize; in 1984, he received the Rubens Prize sponsorship award from the City of Siegen; in 1986, he was awarded the Villa Romana Scholarship; in 1991, he won the Art Prize of the Artists in Düsseldorf; in 2003, he received the Iserlohn Art Prize; and in 2004, he won the Grand Prix of the Prince of Monaco. GERMAN VERSION Max Neumann (* 1949 Saarbrücken) und Eta Bender (*1948 Heidelberg), Figurative Komposition, um 1970. Mischtechnik auf Transparentpapier, auf dünnes Unterlagepapier montiert. 29,6 cm x 21 cm, oben rechts mit Pinsel in Rosa und Orange mit „Eta Bender“ und „Max Neumann“ signiert und unterhalb der Darstellung mit Bleistiftwidmung versehen. - in gutem Zustand - Expressive Zeichen - Am unteren Bildrand hat sich eine rote Figur in Anbetungshaltung niedergeworfen, während oben eine ebenfalls rote Figur wie ein Götze vor einem blauen Fond erscheint. Mittig sind in Farbschlieren aufgelöste Schriftzeichen zu sehen und am rechten Rand die mit einem Stempel initiierten Zahlen von 30 bis 40 aufgelistet, die dieselbe Farbigkeit aufweisen wie die zur Auflösung gebrachten Schriftzeichen. In dieser raren Zusammenarbeit zwischen Max Naumann und Eta Bender wird ein so geheimnisvoll wie bedeutsam wirkendes Bezugsgeflecht etabliert, das von der expressiven Energie der Figuren getragen wird. Dabei haben beide Künstler ihre Namen als Teil des Kunstwerks ins Bild eingefügt. zum Künstler Max Neumann zählt zu den herausragenden Vertretern der zeitgenössischen figurativen Kunst. Nach einem 1969 begonnenen Studium an der Werkkunstschule Saarbrücken wechselte er 1970 an die Kunstakademie Karlsruhe und von dort 1974 an die Berliner Hochschule der Bildenden Künste, wo er sein Studium 1976 als Meisterschüler von Martin Engelman abschloss. Nach der ersten Einzelausstellung in der Berliner Galerie von Georg Nothelfer erlangte Max Neumann zunehmend internationale Anerkennung. Führende Galerien in Köln, Madrid und Paris vertreten den Künstler, dessen Werke inzwischen auf mehr als 150 Einzelausstellungen gezeigt worden sind. Mitte der 70er Jahre hat er sich eine künstlerische Methode angeeignet, die er unabhängig von den Strömungen seiner Zeit konsequent praktiziert. Dabei schafft er in einem intuitiven Akt mit wässrigen Farben eine Bildstruktur, die dann bewusst ausgeformt wird. Aufgrund seines literarischen Interesses pflegt Neumann mit zahlreichen Schriftstellern ein freundschaftliches Verhältnis. Er illustrierte Cees Nootebooms 2021 erschienenen Gedichtband ‚Abschied‘. Max Neumann ist über seine ganze Karriere hinweg mit zahlreichen Preisen ausgezeichnet worden. So erhielt er beispielsweise 1982 den Charlottenburger Kunstpreis, 1983 war er Preisträger des BDI, 1984 erhielt er den Förderpreis zum Rubenspreis der Stadt Siegen, 1986 wurde er mit dem Stipendium Villa Romana ausgezeichnet, 1991 wurde ihm der Kunstpreis der Künstler in Düsseldorf verliehen, 2003 erhielt er den Iserlohner Kunstpreis und 2004 den Grand Prix des Prinzen von Monaco.

Creator:

Max Neumann (1949, German)

Creation Year:

c. 1970

Dimensions:

Height: 11.42 in (29 cm)Width: 8.27 in (21 cm)Depth: 0.4 in (1 cm)

Medium:

Paper

Movement & Style:

Abstract Expressionist

Period:

1970-1979

Condition:

Gallery Location:

Berlin, DE

1980s Abstract Expressionist Figurative Prints

Materials

Lithograph

Johannes Heisig
Threatening to defeat me once and for all / - A Christmas Pietà -, 1985

$361 Sale Price

20% Off

Tectonic Tension / - Archetypes of Painting -

Located in Berlin, DE

Jürgen Möbius (*1939 Großenhain), Tectonic Tension. Oil on hardboard, 47.5 x 60 cm, 49 x 61.5 cm (frame), signed lower right "Möbius" and dated "[19]81". - Upper left corner with a small chip, light scratches and a little rubbed in places. Provisional gallery frame with traces of use. - Archetypes of Painting - About the artwork The form structure in front of the eye is overlapped by the frame. Thus, the frame does not open up a space in which something is presented, but rather shows the seemingly arbitrary section of a comprehensive context that cannot be framed as such. We see forms that stand in a structure of tension with each other, whereby the individual black and brown forms, which continue almost endlessly beyond the frame, already show a tension in themselves, since they are not only forms, but also surfaces - form surfaces, while the light blue surface ground is at the same time forms that appear as surface forms. The formed surfaces and surface forms are nested within each other and form a structure that encompasses all elements. The angular arrangement of the black and brown shaped surfaces gives the structure a tectonic character. The tension is thus heightened to the point of paradox, since the black shape at the front is overlapped by the brown shape at the bottom in the center of the picture, which would be impossible in real space. It is precisely through this "paradox" that Möbius demonstrates that the paradoxical is reality within painting. It is, so to speak, the most original possibility of painting, which distinguishes it from the other arts. In combination with the tectonic formations, Jürgen Möbius creates an archaic primordial painting, which, however, should not be confused with the autonomous color and form cosmos of Suprematism à la Kasimir Malevich. Instead of homogeneous, perfectly colored forms, here the colors are deliberately applied unevenly, and the light blue is mixed with the brown in a manner determined by the brushstroke. At the edges of the surface forms, the uneven application of paint allows the wood of the unprimed hardboard to show through. In this way, Möbius illustrates that we are dealing with a painting that has been created by an act of painting - an act, however, that takes hold of the original principles of painting and thus realizes painting as such. About the artist From 1959 to 1965 Jürgen Möbius studied painting at the University Institute for Art and Work Education in Mainz. He also studied philosophy and art history at the University of Mainz. Afterwards he worked as a freelance artist in Mainz. At first, Möbius created material reliefs and installations, then, around 1974, he turned increasingly to conceptual art and added cinematic means. During this phase he wrote the manifesto-like essay "Principles of Supranatural Landscape" (1979). From 1981 on, Möbius concentrated on painting and searched for artistic ways to "treat intellectual and sensual perception equally in the fusion of representational and abstract pictorial elements" (Wolfgang Zemter). He found inspiration on his study trips to Thailand and Sri Lanka. "The pure painting of Jürgen Möbius flows through us as a timeless expression of memory and energy, ploughing our perception and bringing us the happiness of seeing authentic, immovable form. - Philippe Büttner Selection of solo exhibitions 1969 Galerie Würzner, Düsseldorf / Galerie Gurlitt, Mainz 1972 Städtische Galerie, Mainz 1973 Galerie Schloss Ringenberg Rathaus, Kleve 1974 Röderhausmuseum, Wuppertal 1976 Galerie Glasing, Osnabrück / Städtische Galerie, Herne 1977, 1997, 2004 Märkisches Museum, Witten 1979 Studio M, Bamberg / Staatstheater, Darmstadt 1980 Galerie Stolànovà, Wiesbaden / Mittelrheinmuseum, Koblenz 1982 Galerie Dornhöfer, Mainz 1984 Galerie Neumühle, Schlangenbad 1985 Landesmuseum, Mainz / Kunstverein, Ludwigshafen / Nassauischer Kunstverein, Wiesbaden 1986 Museum, Bochum / Galerie der Stadt Iserlohn 1987, 1990 Galerie Klaus Kiefer, Essen 1987, 2000 Galerie Ulrike Buschlinger, Wiesbaden 1988 Kunsthalle Darmstadt 1988, 1992, 1996, 1999 Galerie Leonhard, Basel 1992, 2002 Galerie Zulauf, Freisheim 1994 Galerie Remy, Vallendar 1995 Sendezentrum des Zweiten Deutschen Fernsehens, Mainz 2001 Collegium oecumenicum, Bamberg / MVB Forum für Kultur und Wirtschaft, Mainz 2006 Adam Gallery, London Selection of group exhibitions 1969 ‘International Graphic Arts’, Galerie Dalléas Bordeaux, Paris 1975 ‘Deutscher Künstler-Bund’, Dortmund 1979 ‘Man and man’s Images’, Märkisches Museum Witten 1980 ‘Love-Dokuments of our Time’, Art Hall Darmstadt and Art Association Hannover 1982 ‘Work - Progress – Position’, Nassau Art Association Wiesbaden 1983 ‘Principle Hope – Utopic Aspects in Art and Culture of the 20th Century’, Museum Bochum 1986 ‘Selfportraits’, Gallery Klaus Kiefer Essen 1987 ‘The Dying and Death’, Gallery Klaus Kiefer Essen 1989 ‘Where are You, Revolution – Freedom, Liberty, Egality, Fraternity to-day’, Museum Bochum 1990 ‘Flight – a Problem within the Memory of Man’, Kunsthalle Darmstadt ‘Art and War 1939 – 89’, House of Cultures Berlin 1991 ‘Material and Form’, Pillnitz Castle Dresden and Pfalz Gallery Kaiserslautern 1995 20 Years Exhibitions, Chrämerhuus Langenthal, Schweiz 1998 ‘Works on Paper’, Klaus Kiefer Gallery Essen 2000 ‘Acquisitions 1900 – 2000’, Mittelrhein-Museum Koblenz 2001 ‘Strange Pictures’, Klaus Kiefer Gallery Essen 2002 ‘10 Years Buschlinger Gallery’, Buschlinger Gallery Wiesbaden 2004 ‘Eternal Space – Pictures and Sculptures’, Dome of Bamberg 2005 Art Fair Chicago, Adam Gallery, London Selected Bibliography Mittelrheinisches Landesmuseum (Hrsg.): Jürgen Möbius - Neue Bilder, Mainz 1985. Kunstverein Darmstadt (Hrsg.): Jürgen Möbius. Bilder 1985 - 1988. Kunsthalle Darmstadt, 26. Juni - 14. August 1988. Red. Dorit Marhenke, Lyrik Marcus Schiltenwolf, Düsseldorf 1988. Gabriele Prusko (Hrsg.): Jürgen Möbius. Mit Texten von Philippe Büttner und Ralph Mieritz, Basel 1992. Wolfgang Zemter (Hrsg.): Jürgen Möbius - Aktuelle Arbeiten. Märkisches Museum der Stadt Witten, Bönen 1999. Wolfgang Zemter (Hrsg.): Jürgen Möbius. Flieger in meinem Zimmer und Beruhigte Zone, Bönen 2004. Dama Gallery...

Category

1980s Abstract Abstract Paintings

Materials

Oil

Jürgen Möbius
Tectonic Tension / - Archetypes of Painting -, 1981

$1,330 Sale Price

20% Off

20th Century Abstract Paintings

Materials

Oil, Monoprint

Alfred Ortega
Alfred Ortega Bold Figurative Abstract Expressionist Oil Monoprint Painting

$1,200

Untitled

By Lawrence Kupferman

Located in Surfside, FL

30X21.25 without the frame. Mixed Media painting and drawing on paper. Lawrence Kupferman had a long and illustrious career as an artist and educator. His work has been exhibited at ...

Category