Sans titre , Circa 70
Sans titre , Circa 70
Face Farces
vintage silver print, painting
19.6 x 23.6 inches
Unique artwork
Signé
Rurik Dmitrienko
Pierre Molinier Ubermalung #14, 2008
Pierre Molinier Ubermalung #14, 2008
Wax pastel wash ink and scratch on paper and photograph
13.1 x 9.1 in
Unique artwork
Signé
Pierre Molinier Ubermalung #15, 2008
Pierre Molinier Ubermalung #15, 2008
Wax pastel and pen on paper and on photography
13.1 x 9.1 in
Unique artwork
Signé
Sans titre, 1967
Sans titre, 1967
Wax pencil on graph paper
13 x 12.9 in
Unique artwork
Signé
Sans titre (Face farces), 1973
Sans titre (Face farces), 1973
Ink and wax pastel on photography
19.9 x 24 in
Unique artwork
Signé et daté
Zelt, 1967
Zelt, 1967
Wax pastel on paper
13 x 12.8 in
Unique artwork
Signé
Hut, 1967
Hut, 1967
Wax pastel on graph paper
13 x 12.8 in
Unique artwork
Signé
Graues Salz , 1969
Graues Salz , 1969
Photo, original silver print. Signed, titled and numeroted 11/25
Image: 20.1 x 15.7 in
Unique artwork
Signé et daté

Arnulf
RAINER

Austrian painter and photographer. He had almost no academic training as an artist. From 1948 to 1951 he produced Surrealistic drawings representing underwater scenes and mystical forms, rendering these fantastic images in pencil as a densely worked surface. Deeply suspicious of rationality, he investigated the potential of dreams, madness and the subconscious; to these ends he co-founded the Hundsgruppe under the influence of French Surrealism in 1950.

He began to turn away from fantastic Surrealism. From 1951 to 1954 he worked on a series entitled Blind Drawings (e.g. 1952; see 1988 exh. cat., p. 27), in which he studied optical disintegration and the destruction of form, replacing pictorial composition and illusion with the immediacy of accidentally encountered textures. From 1953 to 1965 he devoted himself principally to a series of Overpaintings, in which he obliterated his early expressive drawings or pictures by friends with whose work he was in sympathy, to produce almost monochrome paintings dominated by black or red.

From 1956 Rainer became concerned with religious theories and practices, particularly in a group of paintings dominated by cruciform shapes. The interest in extreme emotional states hinted at in such works became even more pronounced in 1963, when he began to collect paintings by the insane, and in 1964, when he experimented with hallucinogenic drugs.

From the mid 1970s Rainer reworked photographs on a variety of subjects. Constantly adding to his repertory of images Rainer continued to exploit the interaction of intellectual meditation and bodily expression.