Jenny Saville

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United Kingdom ( 1970 ) - Artworks Wikipedia® - Jenny Saville

Auction House:
Christie's / Jun 28, 2011
Estimate:€456,986.09 - €685,479.13
Price:€645,538.68

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Artworks in Arcadja

Some works of Jenny Saville

Extracted between 55 works in the catalog of Arcadja

Jenny Saville - Untitled (study)

Original 2004

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Auction: Christie's - May 16, 2013- New York

Lot number: 643
Other WORKS AT AUCTIONDescription:

Lot Description JENNY SAVILLE (B. 1970) UNTITLED (STUDY) OIL ON PAPER 59½ X 47¾ IN. (151.1 X 121.2 CM.) PAINTED IN 2004. Provenance GAGOSIAN GALLERY, NEW YORK ACQUIRED FROM THE ABOVE BY THE PRESENT OWNER Pre-Lot Text PROPERTY FROM THE ARTHUR M. SACKLER COLLECTIONS TRUST Literature JENNY SAVILLE, EXH. CAT., ROME, 2005, P. 110 (ILLUSTRATED). Exhibited NEW YORK, BROOKLYN MUSEUM, ELIZABETH A. SACKLER CENTER FOR FEMINIST ART AND WELLESLEY, DAVIS MUSEUM AND CULTURAL CENTER, GLOBAL FEMINISMS, MARCH-DECEMBER 2007, P. 241 (ILLUSTRATED).

Jenny Saville - Closed Contact

Original

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Auction: William Doyle - Apr 8, 2013- New York

Lot number: 369
Other WORKS AT AUCTIONDescription:

Lot 369 SAVILLE, JENNY (b. 1970) Closed Contact . Beverly Hills: Gagosian Gallery, 2002. First edition, copy 17 of 25 copies with print. Book and photograph in the lucite box of issue, the book in salmon boards. The included photograph is a Cibachrome, 15 1/2 x 11 1/8 inches (395 x 285 mm), signed verso by Jenny Saville. Fine copy . The book reproduces Saville's body art, and contains an essay by Katherine Dunn. See Roth The Open Book . C Estimate $1,500-2,500 Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

Jenny Saville - Umbilical

Original 2011

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Auction: Christie's - Oct 15, 2011- London

Lot number: 203
Other WORKS AT AUCTIONDescription:

Jenny Saville (b. 1970) Umbilical signed and dated 'Saville 2011' (lower right) charcoal on paper 51¾ x 77 7/8in. (131.5 x 198cm.) Executed in 2011 Donated by the artist. PROPERTY SOLD TO BENEFIT WOMEN FOR WOMEN INTERNATIONAL 'There is a thing about beauty. Beauty is always associated with the male fantasy of what the female body is. I don't think there is anything wrong with beauty. It's just what women think is beautiful can be different. And there can be a beauty in individualism...it's part of your identity. Individual things are seeping out, leaking out. What comes out of [my works] is a fascination with the body. I think you have to sit back and think about the actual structure of the body underneath.' (The artist quoted in D. Sylvester, 'Areas of Flesh' in The Independent, 30 January 1994, reproduced in Gagosian Gallery (ed.), Jenny Saville, New York 2005, p. 15).

Jenny Saville - Interfacing

Original 1992

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Auction: Christie's - Jun 28, 2011- London

Lot number: 8
Other WORKS AT AUCTIONDescription:

Lot Description Jenny Saville (b. 1970) Interfacing oil on canvas 48 x 39 7/8in. (122 x 101cm.) Painted in 1992 Special Notice Artist's Resale Right ("droit de Suite"). If the Artist's ResaleRight Regulations 2006 apply to this lot, the buyer also agrees topay us an amount equal to the resale royalty provided for in thoseRegulations, and we undertake to the buyer to pay such amount tothe artist's collection agent. Provenance Frost & Reed, London. Saatchi Collection, London. Anon. sale, Christie's New York, 17 May 2001, lot 325. Acquired at the above sale by the present owner. Literature S. Kent, Shark Infested Waters - The Saatchi Collection ofBritish Art in the 90s, London 1994 (illustrated in colour, p.219). R. Timms, A. Bradley and V. Hayward (eds.), Young British Art: TheSaatchi Decade, London 1999 (illustrated in colour, p. 127). Jenny Saville: Territories, exh. cat., New York, Gagosian Gallery,1999, p. 40). Jenny Saville, exh. cat., Rome, Museo d'Arte Contemporanea, 2005(illustrated in colour, pp. 18-19). J. Gray, L. Nochlin, D. Sylvester & S. Schama, Jenny Saville,New York 2005 (illustrated in colour, p. 23). Exhibited London, Saatchi Gallery, Young British Artists III, 1994. Prague, City Gallery, Close Echoes, 1998. This exhibition latertravelled to Krems, Kunsthalle. Paris, Galerie Sophie Scheidecker, Flesh, 2010. View Lot Notes › '[Interfacing] has the same sort of intensity you get when youlook in the mirror. I think people pull their faces around morethen. I mean people do things in front of the mirror that they'dnever do in front of other people I wanted that intensity, the wayyou look at yourself when there's something wrong. That's all yousee. You don't see any background, the background is irrelevant,all you see is you' (Jenny Saville quoted in D. Sylvester, 'Areas of Flesh', GagosianGallery (ed.), Jenny Saville, New York 2005, n.p.). Jenny Saville's Interfacing is a deeply human portrait of a woman,captured in a moment of studied self-reflection. Peering out of thecorner of her glassy, grey-blue eyes, she examines her appearancein a mirror, pinching the soft, blushed flesh of her left cheek.Based on photographs of the artist herself, the painting isrealised on a larger-than-life scale, the woman's giant visagefilling the full extent of the picture plane. This dramatic scaleand the almost empirical close-up of the woman's face imports afeeling of intimacy, the spectator being initiated into some deeplyprivate ritual. As Saville has explained, '[Interfacing] has thesame sort of intensity you get when you look in the mirror. I thinkpeople pull their faces around more then. I mean people do thingsin front of the mirror that they'd never do in front of otherpeople I wanted that intensity, the way you look at yourself whenthere's something wrong. That's all you see. You don't see anybackground, the background is irrelevant, all you see is you'(Jenny Saville quoted in D. Sylvester, 'Areas of Flesh', GagosianGallery (ed.), Jenny Saville, New York 2005, n.p.). The painting offers a hard-hitting realism, Saville's virtuosobrush marks and vitreous paint building up the surface of thecanvas to express the physicality and emotional life of hersubject. To this end, Saville enjoys the qualities of thickimpastoed paint, eschewing the flat photo-realist images of many ofher contemporaries. Instead, she seeks to use paint in a sculpturalway, recalling Willem de Kooning's famous proclamation, 'flesh wasthe reason oil paint was invented'. Painted in 1992, Interfacingwas one of the artist's first landmark works, catching theattention of prestigious British art collector Charles Saatchi.Saatchi would go on to launch Saville's career, buying up theentirety of her Glasgow School of Art graduate show and addingInterfacing to his collection later that year. By 2004, Saville hadbecome a leading name amongst the stable of celebrated youngBritish artists, exhibiting her rich, corporeal paintings includingInterfacing, to great acclaim at the Saatchi Gallery Young BritishArtists III exhibition, and later contributing to the renownedSensation: Young British Artists from the Saatchi Collection heldat the Royal Academy in 1997. Saville's practice always seeks to imbue the human figure withlife, and she does this through the dense wealth of brush strokesshe devotes to canvas. For Saville, 'one skin stands in foranother', the paint becoming a metaphor for flesh (Sarah Kent,Shark Infested Waters: The Saatchi Collection of British Art in the1990s, London 1994, pp. 83-83). In Interfacing, the pale, blotchedskin and pink, sanguine flourishes that frame her face, suggest areal pulsating person, filled with breath and coursing with blood.In this respect, Saville recalls the remarkable incarnations ofartists such as Diego Velázquez, and Gustav Courbet. As sheexplained, 'the art I like concentrates on the body artists who getto the flesh. Visceral artists - Bacon, Freud. And de Kooning, ofcourse. He's really my man. He doesn't depict anything, yet it'smore than representation, it's about the meaning of existence andpushing the medium of paint.' (Jenny Saville, quoted in S.Mackenzie, 'Under the Skin', Guardian, 22 October 2005, onwww.guardian.co.uk). In Interfacing, Saville depicts the bare, radiant, complexion of awoman with the greatest of devotion, capturing the essence of thesubject and importing her emotional life onto canvas. She gazesinto a mirror touching the folds of her cheek and inspecting theintimate contours of her face. She seems consumed with herappearance, the qualities of her physiognomy, the tone and textureof her skin. Illuminated in bright light and marking the centre ofher right cheek are the tracks of scars, remnants of a skin graftor cosmetic surgery. Situated below is a pronounced protuberance,an unabashed wart highlighted against her pale flushed skin.Saville herself had a similar complaint at the time, as sheexplains, 'when I did the head [Interfacing], I had a wart too,like her. Everybody used to look at it. It became quite anobsession, so the whole painting grew out of this idea: that alleverybody ever sees of you is this wart. So there's no background.The whole thing's flesh' (Jenny Saville quoted in D. Sylvester,'Areas of Flesh', Jenny Saville, exh. cat. Gagosian Gallery, NewYork, 2005, n.p.). Saville has long been fascinated with the idiosyncrasies of thehuman body and the contemporary quest for conventional beauty.Spending time in the operating theatre, accompanying a plasticsurgeon, she became rapt by the malleability of the flesh and themodifications carried out by professionals to those dissatisfiedwith their aesthetics. In Interfacing however, Saville celebrateshuman imperfections and the idiosyncratic beauty belonging to eachperson. As the artist once explained, 'beauty is always associatedwith the male fantasy of what the female body is [but] there can bebeauty in individualism. If there is a wart or a scar, this can bebeautiful, in a sense, when you paint it. It's part of youridentity. Individual things are seeping out, leaking out (JennySaville quoted in D. Sylvester, 'Areas of Flesh', Jenny Saville,exh. cat. Gagosian Gallery, New York 2005, n.p.). Saville herselfis an avowed feminist, deeply averse to the prescriptions societyarguably places upon the female gender to attain a slender body,aquiline nose or perfect face. 'It's like an epidemic' she says,'what would beauty be, if everyone were the same?' (Sarah Kent,Shark Infested Waters: The Saatchi Collection of British Art in the1990s, London 1994, p. 83-84). In her painting, Saville reclaims the female image from themale-orientated artistic tradition, inviting the viewer to casttheir gaze on a blemished, abundantly fallible portrait. The womanis a derivative of Saville herself, the broad fleshy face a productof her photographer's lens and the low perspective that visuallydistorts her pictorial frame. For Saville the scale of her canvas,and the sheer physicality of her image is an important tool withwhich to confront any preconceptions or visual prejudices: 'it'sthe effect of intimacy through scale that I want. Although largepaintings are so often associated with grandeur, I want to makelarge paintings that are very intimate. I want the painting toalmost surround your body when you stand very close to it. Rothkocreates an intimacy through scale. When you stand very close to hispaintings the colour hums and vibrates through you it - almostwraps around you. It's a childlike feeling... I want the feelingthat you don't only command the piece of work, the piece of workalso commands you (Jenny Saville quoted in M. Gayford, 'AConversation with Jenny Saville', M. Dent-Brocklehurst (ed.), JennySaville: Territories, exh. cat. Gagosian Gallery, New York, 1999,p. 31). KA

Jenny Saville - Closed Contact

Original 2002

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Auction: Phillips, De Pury & Luxembourg - Jun 8, 2011- New York

Lot number: 119
Other WORKS AT AUCTIONDescription:

119 JENNY SAVILLE Closed Contact, 2002 The complete set of four cibachromes, on Matte photo paper mounted to mat board (as issued), the full sheets, with four photographic cataloguesfrom the exhibition Closed Contact Jenny Saville Glen Luchford atGagosian Gallery Los Angeles, all books bound in originalflesh-colored paper covers and contained in original Plexi boxes,all S. 15 1/2 x 11 in. (39.4 x 27.9 cm) all prints signed, annotated ````````A'-````````D' respectively and numbered 22/25 inblack marker on the reverse, all in very goodcondition, framed. ESTIMATE $10,000-15,000 Bid online Contact Specialist Request Condition Report Receive Email alerts View catalogue Purchase catalogue Annual subscriptions