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“Up and Downhill”, 1966. Signed Jorn and on the reverse. Oil on canvas. 54×65 cm.
Asger Jorn · "Up and Downhill"
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Klubbat pris
953 303SEK
650 000 DKK i originalvaluta · Klubbat pris — auktionshuset publicerar ingen budhistorik.
Asger Jorn · "Up and Downhill"
·
650 000 DKK i originalvaluta · Klubbat pris — auktionshuset publicerar ingen budhistorik.
“Up and Downhill”, 1966. Signed Jorn and on the reverse. Oil on canvas. 54×65 cm. Literature: Guy Atkins: “Asger Jorn. The final years 1965–1973”, London 1980, no. 1690, reproduced p. 198. Literature: E. Lucie-Smith: "London commentary: Asger Jorn. STUDIO INTERNATIONAL, London, CLXXII, No. 882, October 1996, p. 199. Exhibited: “Asger Jorn: recent paintings”, one-man exhibition. Catalogue preface by Toni del Renzio, Arthur Tooths & Sons Ltd, London 4–22 October 1966, cat. no. 5, reproduced in colours in the catalogue. Exhibited: “Campo vitale”. International exhibition. Catalogue preface by Paolo Marinotti, Centro Internazionale delle arti e del costume, Palazzo Grassi, Venice 27 July-8 October 1967, cat. no. 57 c. Provenance: Private collection, Milano. Provenance: Galerie Birch, Copenhagen. Provenance: Galerie Moderne, Silkeborg, Denmark. Provenance: Acquired in 1967 by the present owner's family. Has not been offered for sale since. In “The final years”, art historian Frank Whitford analyzes Asger Jorn's methods and whether the spontaneity in his works, which, among others, the surrealist painter Conroy Maddox has described as “purposeless” until a figure and a more defined motif took shape. Whitford’s clear conviction is that this was not the case: ”… Jorn wanted to paint a figure before he started but also that he had a firm idea of the kind of figure he wished to paint”, (Atkins p. 39–43). A fact supporting Whitford’s interpretation is Jorn’s diligent use of titles. The content is not based on the pure randomness of abstraction, but points in a direction that usually rewards the patient viewer. What, then, is the meaning of the title “Up and Downhill”? We will probably never have the definitive answer, but a closer look at the composition reveals three figures, united in movement toward the left side of the canvas. Already here, Jorn creates a thematic tension that challenges the traditional gaze we use when decoding a motif (in the Western tradition, conventionally from the top left corner to the bottom right). The resulting dynamics go, so to speak, ”against the grain” of our expectations and arouse our curiosity: A cliff-like structure in the background, which almost seems to anticipate the universe and palette of Per Kirkeby, encapsulates the three figures, who, in a canoe- or kayak-like structure, appear to be paddling down a wild and rushing torrent. Judging by their expressions, it is a rather anxiety-inducing exercise – going up and down in uncontrolled ferocity. The situation is quite different for the bottom, octopus-like orange figure, which seems to enjoy the roller coaster ride to the fullest. Is it the painter who, captured by creativity, throws himself into the deep end and uses all his creative power to guide the fragile vessel safely to the shore? Will the entire project shatter against the hard cliff of self-criticism? For obvious reasons, we do not know, but we can safely conclude that the continuous mastery of form and matter was a lifelong project for Jorn. In late works like this, Jorn’s lifelong experience allows his artistic creativity free rein. He lets go and trusts that his techniques and intuition will lead the work to a point where it takes on a life of its own: With ferocity and audacity, he shows how it is done, allowing the abstract/spontaneous artistic symphony and a firework display of colors to unfold. This lot is subject to Artist's Royalty . Artist’s Royalty In accordance with Danish copyright law, an additional royalty fee is to be paid for the purchase of works by contemporary Danish artist and some international artists who are either still alive, or who died within the last 70 years. Read more ×