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Maria Lassnig

Austria (1919 -  2014 ) Wikipedia® : Maria Lassnig
LASSNIG Maria Swimmingpool

im Kinsky Auktionshaus
Dec 1, 2018
Find artworks, auction results, sale prices and pictures of Maria Lassnig at auctions worldwide.
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Along with Maria Lassnig, our clients also searched for the following authors:
Markus Prachensky, Arnulf Rainer, Siegfried Anzinger, Alfred Hrdlicka, Friedensreich Hundertwasser, Karl Korab, Hermann Nitsch
Artworks in Arcadja
230

Some works of Maria Lassnig

Extracted between 230 works in the catalog of Arcadja
Maria Lassnig - Mädchen Mit Weinglas

Maria Lassnig - Mädchen Mit Weinglas

Original
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Lot number: 120
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Description:
Maria Lassnig Mädchen mit Weinglas Colour lithograph recto/verso on card. 63.5 x 45 cm. Framed under glass. Signed, titled, inscribed and numbered. Proof 1/6. Maria Lassnig Mädchen mit Weinglas Colour lithograph recto/verso on card. 63.5 x 45 cm. Framed under glass. Signed, titled, inscribed and numbered. Proof 1/6.
Maria Lassnig - Mutter U. Kind

Maria Lassnig - Mutter U. Kind

Original
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Lot number: 595
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Description:
Maria Lassnig Mutter u. Kind Tusche auf Papier. 62 x 88 cm. Monogrammiert, datiert und betitelt 'Mutter u. Kind 87 ML.' Rückseitig mit der Nummer "731". - Mit leichten Altersspuren. Provenienz Direkt von der Künstlerin; Privatsammlung, Nordrhein-Westfalen Maria Lassnig Mutter u. Kind India ink on paper. 62 x 88 cm. Monogrammed, dated, and titled 'Mutter u. Kind 87 ML.' Numbered "731" verso. - Minor traces of age. Provenance Acquired directly from the artist; private collection, North Rhine-Westphalia
Maria Lassnig - Swimmingpool

Maria Lassnig - Swimmingpool

Original
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Lot number: 513
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Maria Lassnig* (Kappel am Krappfeld/Kärnten 1919 - 2014 Wien) mixed lot of two prints (Swimmingpool) colored print; print; 33 x 24 cm inscribed on the print: Swimmingpool numbered and signed by hand: 36/50 M. Lassnig monogrammed and dated on the print: ML 86 Handschriftlich numbered and signed: 36/50 M. Lassnig
Maria Lassnig -  Self-portrait

Maria Lassnig - Self-portrait

Original 1945
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Lot number: 313
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Maria Lassnig * (Kappel, Carinthia, 1919–2014 Vienna) Self-portrait, on the other side portrait of Louis Popelin, this signed, dated M. Lassnig 23. Mai 1945, coloured chalk or pencil on paper, sight area approx. 38.2x28.8cm These drawings will be included in the catalogue raisonné of Maria Lassnig. Louis Popelin, a French forced labourer whom Maria Lassnig met in Klagenfurt in 1943. They remained friends throughout their lives. See: Natalie Lettner, Maria Lassnig, Die Biografie, Christian Brandstätter Verlag 2017, p. 65–73. Provenance: Private Collection, France Compare: Maria Lassnig, Zwiegespräche, Albertina, Wien/Kunstmuseum Basel, Hirmer Verlag, 2017 Frame on loan Specialist: Mag. Elke Königseder
Maria Lassnig - Blasse Hockende

Maria Lassnig - Blasse Hockende

Original 1971
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Lot number: 29
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Maria Lassnig * (Kappel, Carinthia, 1919–2014 Vienna) \“Blasse Hockende\”, on the reverse signed, dated M. Lassnig 72 as well as titled on the stretcher \“Blasse Hockende\” there dated 1971, oil on canvas, 130x112cm, framed Illustrated and registered in: Christa Murken, Maria Lassnig, Ihr Leben und ihr Malerisches Werk. Ihre kunstgeschichtliche Stellung in der Malerei des 20. Jahrhunderts, Verlag Murken-Altrogge, 1990, ill. p. 32, registered p. 467, cat. raisonné no. 294- there the note: owned by the artist Kunstforum, Insel Austria, Österreichische Kunst heute, 1987, vol. 89, p. 189 (ill.) Exhibited and full-page colour ill.: Maria Lassnig, Museum moderner Kunst/Museum des 20. Jahrhunderts, Vienna 1985 Kunstmuseum Düsseldorf, Düsseldorf 1985 Kunsthalle Nürnberg, Nuremberg 1985 Kärntner Landesgalerie, Klagenfurt 1985, Ritter Verlag, Klagenfurt 1985, p. 80 (ill.) Provenance: Private Collection, Switzerland I would like to be as independent as possible from machines and complicated tools. The pencil and paintbrush are the original tools. Painting is one of the original forms of art. I stand naked in front of the canvas, as it were, without intentions, without a plan, without a model, without a photograph, and let it be created. But I do have a starting point, which arose from the realisation that the only thing that is truly real to me is my feelings that play out within the housing of my body: physiological nature, the feeling of pressure when sitting and lying down, feelings of being compressed and stretching out into space – things which are quite hard to depict. \“Only pain is real\” (Kafka). As a result, painting has also kept changing throughout my long history of experimentation. When I created a bridge to the outside world from within this internal architecture, which, from time to time, laid claim to its right to be elusive for the enjoyment of the eyes and senses, it started with the limited field of vision of the eye\’s arch; what a child first sees; its own arms and legs as a real image. From here on, the division into images of the internal and external world began. In the last New York series, the images of the external world included animals as beings that were mysterious to me. Painting as an elementary activity is my tool for meditation, I don\’t need a shrink or a guru. Maria Lassnig (1980) From the aforementioned catalogue
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