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Hans Hartung

Germany (Leipzig 1904 -  Antibes 1989 ) Wikipedia® : Hans Hartung
HARTUNG Hans P1963-3

Villa Grisebach
Jun 1, 2018
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Variants on Artist's name :

Hartung Hans Heinrich Ernst

 

Artworks in Arcadja
2747

Some works of Hans Hartung

Extracted between 2,747 works in the catalog of Arcadja
Hans Hartung - T1989-l4

Hans Hartung - T1989-l4

Original 1989
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Lot number: 103
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Hans Hartung T1989-L4 1904 - 1989 signed, titled and inscribed on theoverlap acrylic on canvas 60 x 92 cm; 23 5/8 x 36 1/4 in. Executed on 30 August 1989. This work is registered in the archives of the Fondation Hartung Bergman. It will be included in the forthcoming Catalogue Raisonné currently being prepared by the Fondation Hartung Bergman. Provenance Private Collection, France
Hans Hartung - Abstract Theme Artwork

Hans Hartung - Abstract Theme Artwork

Original
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Lot number: 100
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Lot # : 100 - HANS HARTUNG German-French 1904-1989 Oil on Canvas Oil on canvas, featuring abstract theme artwork. Signed and attr. Hans Hartung (German-French, 1904-1989), on lower right margin. 23.6 x 15.7 in. (60 x 40 cm). Hans Hartung is associated with post-war Art Informel artists such as Jean-Paul Riopelle, and Jean Dubuffet. After being a prisoner of war and losing a leg as a soldier with the Foreign Legion, Hartung returned to Paris, where he became particularly interested in spontaneity, irrationality, and freedom of form. Rather than trying to control the process as earlier abstract painters had, Hartung applied paint with garden rakes, spray paint, and olive branches, embracing accidental and unexpected outcomes. PROVENANCE: Central European estate
Hans Hartung - T1956-8

Hans Hartung - T1956-8

Original 1956
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Lot number: 5
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Hans Hartung T1956-8 signed and dated56 oil on canvas 180 x 137,5 cm; 70 7/8 x 54 1/8 in. Executed in 1956. This work is registered in the archives of the Fondation Hartung Bergman. It will be included in the forthcoming Catalogue Raisonné currently being prepared by the Fondation Hartung Bergman. Galerie de France, Paris Robert Giron Collection, Brussels (acquired in 1956) Private Collection, Europe Exhibited Paris, Galerie de France,Hans Hartung, Peintures récentes, November 1956 Hanover, Kestnergesellschaft;Stuttgart, Wurttembergische Staatsgalerie;Berlin, Haus am Waldsee;Hamburg, Kunsthalle;Nuremberg, Germanisches National Museum,Hans Hartung, January - July 1957; catalogue, cover, illustrated Paris, Musée National d'Art Moderne,L'Ecole de Paris dans les collections belges,July 1959 Düsseldorf, Kunstverein;Brussels, Palais des Beaux Arts;Vienna, Museum des 20. Jahrhunderts;Zürich, Kunsthaus,Hans Hartung,1963 Turin, Galleria Civica d'Arte Moderna,Hans Hartung,1966; catalogue, p. 123, illustrated Koln, Wallraf-Richartz-Museum; Munich, Städtische Galerie; Berlin, Nationalgalerie,Hans Hartung-Werke aus fünf Jahrzehnten,1974 - 1975 Literature René de Solier,"Hans Hartung",Quadrum, n°2, November 1956, p. 48, illustrated Dora Vallier,Hartung et le geste de peindre,Paris, 1973, p. 37, illustrated Catalogue Note COMPS: Exhibition view: T1956-8 dans l'expositionHans Hartung au Museum des 20. Jahrhunderts à Vienne, 1963© Photo: Adalbert Komers-Lindenbach© ADAGP, Paris 2018 Exhibition view (smaller image with white chair): Fig. T1956-8 dans l'exposition Han Hartung à la Galerie de France en 1956 © ADAGP, Paris 2018 Hans Hartung, T-1956-8, 1956 Matthieu Poirier From his first remarkable works at the beginning of the 1920s, until his death in the Antibes studio in 1989, Hans Hartung\’s essentially pictorial practice bore an internal aesthetic tension, the result of a to-and-fro between upsurge and control, disorder and measure, sensation and concept. This fundamental complexity confused until very recently the historical reception of this precursor and protagonist of essential pictorial movements such as Abstract Expressionism, action painting, lyrical abstraction or even informel art. Critics often highlight his Romanesque life – the artist was evicted from his native Germany in 1935 by the Nazis, and then fought the Nazi regime alongside the Allied Forces as part of the Foreign Legion, and lost a leg on the battlefield. But critics are particularly interested in the 1950s period, of which the present painting T-1956-8 is characteristic, particularly in terms of the system set up by the artist at the end of the 1930s and that he abandoned only in 1960. This technique consisted of squaring the canvas and then transferring very precisely onto a linen canvas, freehand studies on paper – this technique is more often associated with figurative painting, where a narrative scene or at least images are transferred and not, as here, streaks of paint deposited by a paintbrush or other tools. Paintings with atmospheric and sometimes monochrome backgrounds such as T-1956-8 are thus inhabited by dynamic silhouettes, totally deprived of density or volume – with Hartung space is never hollowed or raised but often arising from a foliage of successive planes. Emerging as much out of a gestural surge as from the careful labour of transfer, these works sometimes required a month of work form the artist. Through this transposition, nothing less than a real sign of manual execution is produced, a sign that translates the artist\’s conceptual distance from sacrosanct expressivity, so characteristic of post-war art. In other words, the electrical beauty of the initial stridency, of the shock of physical energy brought to the paper in a few seconds, is not only preserved but literally amplified. This logic will announce the work of others, such as the American Franz Kline, of whom we know today only his gestural and architectured abstraction, which he began only in 1950 and stemmed from the enlargement of his sketches onto huge canvases. Well before Roy Lichenstein\’s Brushstrokes (in 1965), Hartung\’s vigourous brushstrokes, at least between 1938 and 1960, were both authentic traces of the painter\’s action and pure fabrication. If the artist never concealed this method of transferring, he was little inclined to advertise it, in all likelihood to the extent that only the efficiency of the pictorial result counted in his eyes. Because this method of enlargement, this blow up proved to be all the more complex on a semantic level as it was both the representation of the traced line and the indisputable vector of a powerful expression. This indirect process still disrupts today a long-lived fantasy in the general reception of his career: that of a pure formal upsurging. In other words, the aesthetic impact of Hartung\’s paintings – fulgurant and ethereal – ensues from a carefully thought out process and from a complex relationship with sensorial reality. The painter\’s supposed calligraphic spontaneity was consistent with an organised and systematic research, a constant analysis of the instinctive upsurging, and this through multiple practices such as drawing, painting, pastel, engraving, lithographs or photography. In 1953, Jean Tinguely\’s first Métamatics, veritable painting machines, parodied the gestural and convulsive manner of artists such as Hartung. Each spectator, by activating a switch, could become the \“co-author\” of a drawing. It is significant that Hartung purchased a copy, kept at the Hartung-Bergman Foundation. Duly signed on the back, in the space provided by Tinguely to this effect, the drawing appears as an amused avowal of the German-French artist\’s distance from his own spontaneity. From 1960, the artist favoured moreover the expansion of formats and a more direct approach to the final canvas, without any preparatory studies or transfers. However everything was already anchored in the work, which was now the result of the crossover of logical reasonings that had for a long time been dissociated, even opposed by historiography: immediacy, stemming from a quick and violent gesture; the transcription of the sensitive experience of natural phenomena; the pictorial frame and constant technical experimentation, and finally, the conception of a purely abstract art, which refuses mimesis and anecdote. Matthieu Poirier is an art historian. He is the author of the monograph Hans Hartung. A constant Storm (Editions Perrotin, 2017).
Hans Hartung - L 92

Hans Hartung - L 92

Original 1963
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Lot number: 1086
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Hans Hartung (Leipzig 1904 – 1989 Antibes) „L 92\“. 1963 Lithografie auf BFK Rives-Velin. 42×31,5cm (65,5×50,4cm) ( 16½×12⅜in. (25¾×19⅞in.)). Signiert. WVZ: Schmücking L 92.– Einer von 100 nummerierten Abzügen. St. Gallen, Erker-Presse (mit dem Trockenstempel). [3432] Hans Hartung (Leipzig 1904 – 1989 Antibes) „L 92\“. 1963 Lithograph on BFK-Rives wove paper. 42×31,5cm (65,5×50,4cm) ( 16½×12⅜in. (25¾×19⅞in.)). Signed. Catalogue raisonné: Schmücking L 92.– One of 100 numbered prints. St. Gallen, Erker-Presse. [3432]
Hans Hartung - P1963-3

Hans Hartung - P1963-3

Original 1963
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Lot number: 584
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Hans Hartung (Leipzig 1904 – 1989 Antibes) „P1963-3\“. 1963 Farbkreide auf Karton. 72×49,5cm ( 28⅜×19½in.). Unten rechts mit Bleistift signiert und datiert: Hartung 63. Die Zeichnung ist registriert im Archiv der Fondation Hans Hartung et Anna-Eva Bergman, Antibes, und wird aufgenommen in das Werkverzeichnis des Künstlers (in Vorbereitung).– [3315] Provenienz: Ehemals Galerie Schmücking, Braunschweig (1969) Ausstellung: Hans Hartung. Mailand, Galleria Stendhal, 1966 / Hartung. Turin, Galleria Narciso, 1967 / Hartung. Nantes, Galerie Argos, 1968 Hans Hartung (Leipzig 1904 – 1989 Antibes) „P1963-3\“. 1963 Coloured chalk on cardboard. 72×49,5cm ( 28⅜×19½in.). Signed and dated in pencil lower right: Hartung 63. The drawing is recorded in the archive of the Fondation Hans Hartung et Anna-Eva Bergman, Antibes, and will be included in the catalogue raisonné of the artist (in preparation).– [3315] Provenienz: Formerly Galerie Schmücking, Braunschweig (1969) Ausstellung: Hans Hartung. Mailand, Galleria Stendhal, 1966 / Hartung. Turin, Galleria Narciso, 1967 / Hartung. Nantes, Galerie Argos, 1968
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