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Ian Hornak
Last Song: Beim Schlafengehen—Going to Sleep (homage to Richard Strauss)
1985-2001

Name: Last Song: Beim Schlafengehen—Going to Sleep (homage to Richard Strauss)
Brand: Ian Hornak
Availability: InStock

About the Item

Artist: Ian Hornak (1944-2002) Title: Last Song: Beim Schlafengehen (Going to Sleep) Year: 1985 Year: 1985-2001 Medium: Acrylic on Canvas, with Artist Painted Frame Size: 47 x 59 inches Condition: Excellent Inscription: Signed, recto; double signed and dated on the frame and canvas, verso; titled, verso. Provenance: Armstrong Gallery, West 57th Street, New York, NY; Estate of Ian Hornak, East Hampton, NY Exhibition History: Armstrong Gallery, West 57th Street, New York, NY, 1985; Forest Lawn Museum, Glendale, CA, 2012; Board of Governors of the Federal Reserve System, Mariner Eccles Building, National Mall, Washington D.C. 2012-13; Washington County Art Museum, Hagerstown, MD, 2013; Anton Art Center, Mount Clemens, MI, 2014; Moss-Thorns Gallery, Patricia Schmidt Foundation Center, Fort Hays State University, Hays, KS, 2023. Notes: This painting is titled, Last Song: Beim Schlafengehen (Going to Sleep), in homage to composer Richard Strauss (1864-1949). Beim Schlafengehen, from 1948, was one the final compositions of Strauss’s life and one of a series of four that he composed. In each of the four songs, Strauss, then at the end of his own life, ponders the approach of death. Herbert Glass wrote of the compositions, “[These] are…songs of farewell – to life, to art, to a vanished world. There is nothing like them in music for the sheer intensity of their concentrated, gentle heartache…. Strauss’ songs are music of finality….[he] says goodbye wistfully, but not tragically.” At its core, Strauss sought for Beim Schlafengehen to be a reflection on the contemplation of life and the inevitability of death. It explores the emotions and thoughts that arise as one prepares for slumber, contemplating the journey of life and the onward march towards the unknown. The song’s lyrics, written by Hermann Hesse, beautifully capture the essence of this introspection and provide the listener with a profound sense of the same. This painting ties the sentiment of Strauss to a series of paintings by Hornak depicting, in various stages, end-time, and ultimately the apocalypse—in the case of this painting, the absolute serenity of slumber that precedes demise—created by Hornak at the suggestion of his friend, painter Jimmy Ernst (1920-1984), son of surrealist artist Max Ernst (1891-1976), and stepson of Peggy Guggenheim (1898-1979). The series was realized the year after Jimmy Ernst's death for a 1985 Hornak solo exhibition at the Armstrong Gallery on West 57th Street in New York, prearranged by Ernst. This particular painting incorporates a "painted frame" by lan Hornak whereby the artist expands the image of the primary panel onto the frame itself. Hornak is regarded as the innovator of this technique in art history. It is also one of only a small number of paintings ever created by the artist to have both the painted frame and to incorporate Hornak’s hallmark Photorealist multiple exposure landscape painting technique of which he was the innovator beginning in 1971. IAN HORNAK (January 9, 1944 – December 9, 2002) was an American draughtsman, painter and printmaker. Described by The New York Times as being, “right at the top of romantically descriptive painters today,” Hornak was one of the founding artists of the Hyperrealist and Photorealist fine art movements. Hornak's personal papers and effects entered into the permanent collection of the Smithsonian Institution's Archives of American Art in 2007. His artwork is owned by the permanent collections of the Smithsonian Institution's National Museum of American Art; the Smithsonian Institution's National Museum of American History; the Library of Congress; the Corcoran Gallery of Art; the Detroit Institute of Arts; the Board of Governors of the Federal Reserve System; the Museum of Fine Arts, Boston; the Albrecht-Kemper Museum of Art; the Allen Memorial Art Museum; the Austin Museum of Art; the Barbara Ann Karmanos Cancer Institute; the Canton Museum of Art; the Children's Hospital of Philadelphia; the Hood Museum of Art at Dartmouth College; the Detroit Historical Museum; the Flint Institute of Arts; the Forest Lawn Museum; Galleria Internazionale; The George Washington University Art Galleries; Guild Hall; the Children's Hospital Boston (Harvard Medical School affiliate); the Kinsey Institute for Research in Sex, Gender and Reproduction; the Long Island Museum of American Art, History, and Carriages; the National Czech & Slovak Museum & Library; the National Hellenic Museum; the Ringling College of Art and Design; the Rockford Art Museum; the Jane Voorhees Zimmerli Art Museum at Rutgers University; the Florida State Capital; St. Mary's University, Texas; The Art Gallery at the University of Maryland; the University of Texas at San Antonio; the Frances Lehman Loeb Art Center at Vassar College; the Washington County Museum of Fine Arts; and Wayne State University. In 2012, an additional portion of Hornak's papers and personal effects entered the permanent collection of Dartmouth College's Rauner Special Collections Library. In legacy, Hornak is remembered as having been a friend of Andy Warhol, Robert Motherwell, Robert Indiana, Les Krasner, Helen Frankenthaler, Larry Rivers, Kenneth Noland, Fairfield Porter, Lowell Nesbitt, Willem de Kooning, Mark Rothko, and Claes Oldenburg; and defined as one of founding artists of the Photorealist movements along with Richard Estes, Malcolm Morley, Chuck Close, Tom Blackwell, John Salt, Audrey Flack, and Ron Kleemann.

Creator:

Ian Hornak (1944 - 2002, American)

Creation Year:

1985-2001

Dimensions:

Height: 47 in (119.38 cm)Width: 59 in (149.86 cm)

Medium:

Acrylic

Movement & Style:

Photorealist

Period:

1980-1989