The summer sun is burning and makes vivid colors shine.
Curated works from our post-auction-sale offer a variety of brilliant hues – be inspired by their luminosity!
Darkest blue, deep green, a little shining white and a broad brushstroke of glaring orange – this is Arnulf Rainers Schleierkreuz (veil cross) from 1998. Apart from the colors, the support itself becomes, thanks to its feel and handling, a main part of the work. The relief in the structure is clearly visible, as is the rounded form of the cross. The aggression of past works has yielded to a certain delicateness. The poetry of this image derives from its harmony of color, background and gesture.
The strong blue and intense green of Rainer’s work are comparable to the color used for these two vessels by Josef Hoffmann, which were created after 1915 for the Wiener Werkstätte. The glass glistens in deep jewel hues and feels reassuringly heavy when handled.
Color dominates also in Markus Prachensky’s “Hongkong Ramble” from 2000. One keeps finding the color red in his work, the remaining color spectrum is being used accordingly. In this case, the painter sets a large statement with yellow gold/orange, which in China is the royal color and equal to red. Prachensky’s painting is all about rhythm and movement, his spirited brushstroke is an antidote to the purposeful set color splatters. This is where the obvious spontaneity and freshness of his work originates. The artist has travelled to Asia many times, the construction in this work bears testament to that. Another parallel exists with regard to the art of calligraphy, its momentum being comparable to that of Prachensky.
The royal color can also be found in this wonderful vase from the glass manufacture Johann Lötz Witwe, after a Leopold Bauer design. He created in 1906 a series of 70 glasses, meant to be exhibited at the international glass exhibition in Milan that same summer. In this series, a group of especially large and elaborate pieces is particularly remarkable. Lötz won the Grand Prix of the exhibition in recognition of the high quality of these pieces. Our vase, with a height of 41,2 cm, is one of the largest, most monumental and also most exquisite objects of this exhibition.
Wild and unruly is how the “abstract composition in red and black” from Otto Mühl presents itself. The artists firm, decided energy is visible, and the color makes the painting. Again and again, his work centered around breaking taboos. In this abstraction, the use of intensive red stands accordingly for the clarification of love, force and tragedy.
A similar red draws our eye to a very different painting from another era. In Ernst Lafite’s “portrait of a girl with coral necklace“ from 1884, various red hues correspond with each other. The necklace, the ribbons on the girl’s dress and in her hair and the darker ruby red of her dress draw this girl out of her bland surroundings.