Null Walther Kunau (14.5.1933, Bad Oldesloe), 1981 "Ocherfelsen in der Provence"…

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Walther Kunau (14.5.1933, Bad Oldesloe), 1981 "Ocherfelsen in der Provence" Watercolor in PP, BG ca. 29x42 cm

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Walther Kunau (14.5.1933, Bad Oldesloe), 1981 "Ocherfelsen in der Provence" Watercolor in PP, BG ca. 29x42 cm

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Niedl, Walther (Nové Údoli 1910 - 1999 Fürstenfeldbruck), "Start im Sturm" - auffliegende Enten, oil on canvas, at lower margin sign. Signed a. dat. 1981, on stretcher label with artist's address and title, canvas somewhat stained (to be cleaned), 90,5 x 80 cm, in wide profiled silver-plated silver strip frame, overall size: 104 x 94 cm, traces of age, 4374 - 0030

Estim. 6 000 - 7 000 EUR

JOAN HERNÁNDEZ PIJUAN (Barcelona, 1931 - 2005). "Still life", 1969. Oil on canvas. With Sala Gaspar label on the back. Measurements: 46 x 55,5 cm; 48 x 57 cm (frame). In this work Hernández Pijuan takes the classic genre of the still life and gives it an apparently figurative treatment. However, he essentializes the theme and spiritualizes it, giving it a metaphysical cadence. The two eggs seem to float in the void, despite the shelf on which they sit, slightly darker in color than the background. Pijuan echoes here the symbolic charge of baroque still lifes. The eggs could represent the cycle of life and death. Because of their fragility they are a metaphor for the fragility of life. They also symbolize perfection, but also the duality of human nature. The painting could also be seen as a commentary on the nature of art and its power. This work can be related to "Espai marró amb ou" (1970) from the Reina Sofía Museum Collection. Joan Hernández Pijuan began his training in Barcelona, attending the Schools of La Lonja and Fine Arts of Sant Jordi, and then completed his training at the School of Fine Arts in Paris. Appointed professor at the Faculty of Fine Arts in Barcelona in 1981, Hernández Pijuan occupies a singular position among the Spanish artists of the last decades. The strength of his creative individuality places him at the margin of the successive dominant trends and fashions, but does not prevent us from recognizing in his work a profound identification with the aesthetic concerns of his time. Hernández Pijuan began his career practicing a tragic expressionism of great social charge, and in these times he formed, together with the rest of the members of the Sílex Group, the so-called Barcelona School. In the seventies he simplified his expression to the point of adopting a geometric figuration, a style that he left behind in the following decade to focus on informalism. In fact, the interest and fascination for the career of this painter continues more than ever, and is the subject of new exhibitions and public displays of his work. During his lifetime he exhibited individually in several Spanish cities as well as in Zurich, Milan, Johannesburg, Cologne, Geneva, New York, Paris and Osaka, among other cities around the world, and in 2003 an important retrospective exhibition was dedicated to him at the MACBA in Barcelona, which was later shown at the Musée d'Art et Histoire de Neuchatel (France), the Konsthalle de Malmö (Sweden) and the Galleria Comunale d'Arte Moderna in Bologna (Italy). Even after his death his work has continued to be shown internationally, as evidenced by the exhibitions dedicated to his work held at the Flowers Gallery in London (2006), the Cervantes Institutes in New York, Chicago and Lisbon (2007), the Museum of Spanish Abstract Art in Cuenca (2008), the Andres Thalmann Gallery in Zurich (2009), the Baukunst in Cologne (2010), the Altana Kulturstiftung in Bad Homburg (Germany, 2011) and the Museum of Modern Art in Moscow (2012), among many others. Hernández Pijuan was dean of the Faculty of Fine Arts at the University of Barcelona, and in 2000 he was appointed academician of the Real Academia de San Fernando in Madrid. In 1981 he received the National Prize for Plastic Arts, in 1985 the Sant Jordi Cross and, in 2004, the City of Barcelona Award. He was also awarded the Prize of the General Directorate of Fine Arts at the National Exhibition of Alicante in 1957, the First Prize for Painting "Peintres Residents" in Paris (1958), the "Malibor" Prize at the Biennial of Engraving in Ljubljana (1965), the International Biennial of Engraving in Krakow (1966) and the prize of the editorial office "Vijesnik u Srijedu" in Zagreb (1970). Hernández Pijuán is represented at the MACBA, the Museum of Spanish Abstract Art in Cuenca, the Reina Sofía in Madrid, the Patio Herreriano Museum in Valladolid and the Basque Museum of Contemporary Art, as well as in foreign centers such as the Guggenheim Museum in New York, the Liaunig (Austria), those of Contemporary Art of Helsinki and Luxembourg, the Kulturstiftung of Bad Homburg (Austria), the Yamaguchi Gallery of Osaka (Japan), the Palace of Fine Arts of Brussels, the National Gallery of Montreal, the Museum of Modern Art of Buenos Aires and the Sztuki Museum of Lodz (Poland).

Estim. 3 000 - 4 000 EUR

Rémi Blanchard (1958-1993)

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