This lot is offered by Christie Manson & Woods Ltd
Christie Manson & Woods Ltd
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Lot Essay
Created in 1923, Komposition 1923 XI/Stadt dates from a key period of experimentation and exploration in Walter Dexel’s artistic career, as he began to embrace the formal language of Constructivism in his painting. In his role as the artistic director of the Kunstverein in Jena (1916-28), Dexel came into contact with many leading figures of the European avant-garde during the early 1920s, including Jean Arp and Sophie Taeuber-Arp, Kurt Schwitters, Paul Klee, El Lissitzky, László Moholy-Nagy, and Theo van Doesburg, with whom the artist developed a close friendship from 1921 onwards. Immersed in this dynamic milieu, Dexel’s absorbed and responded to the many diverse styles and theories that were sweeping through Europe at this time, translating them through his own idiosyncratic vision.
This important double-sided canvas illustrates the evolving nature of Dexel’s art during these years, as he explored the full possibilities of complete abstraction. On the recto, he reduces the composition to a carefully balanced configuration of pure, geometric rectangles, differentiated from one another by subtle variations in colour, weight, and orientation. Focusing on the relationships between these elements and the manner in which their characters change as they interact, the image is infused with a palpable internal tension. The reverse, meanwhile, is filled with a colourful multitude of forms overlapping and abutting one another in a dense array, distilling the built environment of the city down to its essential geometric shapes, while still remaining rooted in the figurative. Post Lot Text Artist's Resale Right Regulations 2006 apply to this lot. You must pay us an extra amount equal to the resale royalty and we will pay the royalty to the appropriate authority. Please see the Conditions of Sale for further information.
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Condition report
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Komposition 1923 XI (recto): Oil on canvas. Not examined out of the frame. Not lined. A slight impression to the canvas at the upper right corner. A few fine lines of craquelure in the white pigment to the upper left and right corners, above and below the grey horizontal rectangular element and a few isolated lines elsewhere. A small surface abrasion towards the lower centre-right edge, visible upon close inspection. Minor surface dirt with a few tiny pinpoint specks of to the right of the largest black element and a few small spots of residue in the beige element and one towards the upper edge of the orange element. Examined under ultra-violet light: a small spot of slight fluorescence in the orange element, not presumed to be retouching. Subject to the foregoing, it is our opinion that the work appears to be in generally very good condition.
Stadt (verso): Oil on canvas. Not examined out of the frame. Not lined. Not varnished. An inscription in chalk '628' towards the lower centre. Minor surface dirt, particularly towards the lower edge. Examined under ultra-violet light: nothing shows. Subject to the foregoing, it is our opinion that the work appears to be in generally very good condition.
Print Report
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