Yuichi, Inoue Ajisai (= Hortensie). 1973. Tusche auf hauchzartem China aufgewalz…
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Yuichi, Inoue Ajisai (= Hortensie). 1973. Tusche auf hauchzartem China aufgewalzt auf Japan. Sichtmaß 19 x 20 cm. Mit Stempelsignatur. Auf Unterlage montiert und unter Glas gerahmt (ungeöffnet). - Tec…

American Modernism Abstract Expressionism Yuichi, Inoue Ajisai (= hydrangea). 1973. India ink on gossamer china, rolled onto Japan. Visible dimensions 19 x 20 cm. With stamp signature. Mounted on support and framed under glass (unopened). - Some studio traces due to technique, otherwise apparently in very good condition. Unagami, Catalogue Raisonné, Vol. 2, No. 73194 - Provenance: German private collection, acquired at the Japan Art Galerie Friedrich Müller. - Depicting a waka, a classic genre of Japanese poetry, which can be translated as follows: I heard on the wind that my old house was torn down/I wonder if the hydrangea are blooming/Through a window that is no more (cf. Unagami, Vol. 2., 73150). - Yu-Ichi, who worked in Tokyo all his life, is today one of Japan's most important artists of the 20th century. With his expressive works, he is usually mentioned in the same breath as the great representatives of Abstract Expressionism Franz Kline and Robert Motherwell. The critic Herbert Read mentions YU-ICHI in his book "A Concise History of Modern Painting", while Robert Motherwell describes him as one of the few great artists of the second half of the century. Despite his international recognition, he only took part in a few exhibitions in order to focus his energy on artistic creation instead, in which he finds an approach to expressing his energies with the help of kanji characters. He is not interested in the aesthetics of the characters, but concentrates on the free development of his inner strength, which is expressed directly in his writing. In this way, Yu-Ichi transcends the boundaries of traditional calligraphy to achieve radical expressiveness. - Inoue Yûichi's works can be found in numerous important collections worldwide such as the National Museum of Modern Art in Tôkyô and Kyôto, the Museum of Modern Art New York, the Stedelijk Museum Amsterdam and others (see https://www.japan-art.com/artists/26-yu-ichi-%28inoue-yuichi%29/overview/, accessed on 29.05.2024). Ink on china, rolled onto Japan. Visible dimensions 19 x 20 cm. With stamp signature. Mounted on underlying mat and framed under glass (unopened). - Some studio traces due to technique, otherwise apparently in very good condition. - Provenance: Private collection, Germany. Acquired at the Japan Art Galerie Friedrich Müller. - Yu-Ichi is considered one of Japan's most important artists of the 20th century. With his expressive works, he is usually mentioned in the same breath as the great representatives of Abstract Expressionism Franz Kline and Robert Motherwell, and his contemporaries look up to him. Despite his international recognition, he only took part in a few exhibitions, focusing his energy on his artistic work instead. Yu-Ichi found an approach to expressing his artistic energy with the help of kanji characters. He is not interested in the aesthetics of the characters, but concentrates on the free flow of his inner strength, which is expressed directly in writing. In this way, Yu-Ichi transcends the boundaries of traditional calligraphy to achieve radical expressiveness. - Inoue Yûichi's works can be found in numerous important collections worldwide, such as the National Museum of Modern Art in Tôkyô and Kyôto, the Museum of Modern Art New York, the Stedelijk Museum Amsterdam and others (see https://www.japan-art.com/artists/26-yu-ichi-%28inoue-yuichi%29/overview/, accessed on 29 May 2024).

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Yuichi, Inoue Ajisai (= Hortensie). 1973. Tusche auf hauchzartem China aufgewalzt auf Japan. Sichtmaß 19 x 20 cm. Mit Stempelsignatur. Auf Unterlage montiert und unter Glas gerahmt (ungeöffnet). - Technikbedingt etw. atelierspurig, ansonsten augenschein

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SAM FRANCIS (San Mateo, California, 1923 - Santa Monica, California 1994). Untitled, 1984 (SFF.1099 aka SFP84-46). Acrylic on canvas. Signed on verso in cursive by the artist: 'Sam Francis' with inscriptions 'SFP84-45' in blue marker and 1984 in grey pencil. Provenance: -Nantenshi Gallery, Tokyo (1985). -Private collection, Japan. Attached certificate of authenticity issued by the Sam Francis Foundation. Listed in the catalogue raisonné under no. SFF. 1099. Measurements: 5,08 x 7,62 cm; 33 x 40 cm (frame). In this canvas, San Francis presents us with a composition devoted to the study of rhythm and the linear decomposition of abstract forms. Styles such as Neo-Plasticism and Constructivism have been assimilated in a personal way; however, the Californian goes further and breaks with this idea of pure lines, leaving spaces to chance and to the expressiveness of the pictorial material itself, as can be seen in the spilled drops of paint. San Francis studied botany, medicine and psychology at Berkeley University in California between 1941 and 1943, and served in the United States Air Force during the Second World War from 1943 to 1945 before being injured in a plane crash. He spent several years in hospital, and it was during this time that he began to paint, at the urging of his friend David Parks, a professor at the San Francisco School of Fine Arts. Once out of hospital he returned to Berkeley, this time to study art. His studies in painting and art history took him from 1948 to 1950. Francis' early work is directly influenced by the Abstract Expressionists such as Rothko, Gorky and Still. During the 1950s he lived in Paris, where he held his first solo exhibition in 1952 at the Galerie Nida Dausset. During the fifties and sixties he held important solo exhibitions and participated in group shows at the Ribe Droite (Paris, 1955), Martha Jackson (New York, 1956), Gimpel Fils (London, 1957), the exhibition "New American Painting", which toured eight European cities (1958), the Documenta in Kassel (1959 and 1964) and the Kunsthalle in Bern and Düsseldorf. In 1963 he settled in Santa Monica, California, and six years later he was awarded an honorary doctorate by the University of Berkeley. It was during this period, between 1960 and 1963, that he created several series of works, including the "Blue Balls" series. Consisting of predominantly biomorphic blue shapes and drops, these works referenced the pain resulting from the kidney tuberculosis he suffered in 1961. He continued to paint, mainly in Los Angeles, but also in Tokyo, where he lived mainly in 1973-4. In 1965 Francis began a series of paintings featuring large areas of open canvas, minimal colour and strong lines. His work evolved further after he began an intensive Jungian analysis with Dr. James Kirsch in 1971. It was then that he began to pay close attention to his dreams and the unconscious images they suggested, Francis' works from the early 1970s have been called fresh air images. Created by adding pools, drips and splashes of colour to wet bands of paint applied with a roller, these works reaffirmed the artist's interest in colour. By 1973-4, many of Francis's paintings featured a formal grid or matrix composed of cross-hatched traces of colour. Many of these matrix works were large in scale, measuring up to twenty feet in length. After 1980, the formal grid structure gradually disappeared from Francis's work. He was extremely active as a printmaker, creating numerous etchings, lithographs and monotypes, many of which were executed in Santa Monica at Francis' own Litho Shop. In 1984 Francis founded The Lapis Press with the aim of producing unusual and timely texts in visually appealing formats.

MANUEL HERNÁNDEZ MOMPÓ (Valencia, 1927 - Madrid, 1992). Untitled, Rome, 1954. Oil on cardboard. Signed, dated and titled in the lower left corner. Work reproduced in color in the Catalogue Raisonné of the artist, nº 1954/113 p. 142. 142. Certificate can be issued at the request and expense of the buyer. Measurements: 63 x 23 cm; 82 x 41 cm (frame). The son of a painting teacher, Hernández Mompó alternated his basic and high school studies with classes at the School of Applied Arts and Artistic Trades in Valencia, which he entered in 1943. In 1948 he obtained a scholarship to paint in Granada, in the Residence for Painters, and three years later a new pension allowed him to travel to Paris. In the French capital he came into contact with the circles of informalist painters, whose influence would mark his later production, definitively leaving behind the landscapes and portraits that had dominated his work until then. Between 1954 and 1955 he spent a long period in Rome, on a grant from the Department of Culture of the Ministry of National Education to study at the Spanish Academy of Fine Arts in the Italian capital. In 1954 he participated in the International Exhibition of Viareggio, where he was awarded the Italian Navigation Prize. He left Italy and settled in Amsterdam, where he again frequented the informalist cenacles. In 1957 he returned to Spain and settled in Aravaca (Madrid). The following year he was awarded a grant from the Juan March Foundation in Madrid, and won the Grand National Prize for Painting and a first medal at the National Exhibition of Fine Arts. During the sixties and seventies he alternated his residence between Madrid, Ibiza, and in 1973 he spent a year in California. On his return to Spain he settled in Mallorca. Hernández Mompó exhibited in the main capitals of Europe and the United States, and participated in national and foreign collective exhibitions. Among his most outstanding awards was the Unesco Prize received at the XXXIV Venice Biennial in 1968. In 1984 he was awarded the National Prize of Fine Arts of the Ministry of Culture. His youthful style was soon influenced in a definitive way by abstract expressionism and informalism, although his works never lost reality as a reference. In his production, Hernández Mompó captures a figurative and poetic imagery, harmoniously mixed with abstract elements and rich superimposition effects. Hernández Mompó is represented at the IVAM in Valencia, the Museo Nacional Reina Sofía, the Museo de Arte Abstracto in Cuenca, the British Museum in London, the Centre Georges Pompidou in Paris, the Chase Manhattan Bank Collection in New York and the Winterthur Museum in Switzerland, among many others. Work reproduced in color in the artist's Catalogue Raisonné, nº 1954/113 p. 142. 142. Certificate can be issued at the request and expense of the buyer.