Jean Tinguely

Switzerland (Friburgo 1925Berna 1991 ) - Artworks Wikipedia® - Jean Tinguely
TINGUELY Jean München

Galerie Koller /Dec 3, 2014
246.89 - 329.19
Not Sold

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Artworks in Arcadja
1148

Some works of Jean Tinguely

Extracted between 1,148 works in the catalog of Arcadja
Jean Tinguely - Meta-malevich Formes Mouvementées

Jean Tinguely - Meta-malevich Formes Mouvementées

Original 1955
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Lot number: 6
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Jean Tinguely 1925 - 1991 META-MALEVICH ‘FORMES MOUVEMENTÉES’’’’ signed and dated 55 on the side painted metal elements on painted wooden box with wooden pulleys, rubber belt, metal fixtures and electric motor 62 by 50 by 8cm.; 24 3/8 by 19 5/8 by 3 1/8 in. Executed in 1954-55. Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Provenance Svensk-Franska Konstgalleriet, Stockholm Acquired directly from the above by the present owner in 1966 Exhibited Paris, Galerie Arnaud, Automates, Sculptures et Reliefs Méchaniques de Tinguely, 1954 Bern, Kunsthalle Bern, Lumière et Mouvement, 1965, n.p., no. 139 Basel, Museum Tinguely, Le Mouvement. Vom Kino zur Kinetik, 2010, p. 71, illustrated in colour Literature Karl Gunnar Pontus Hultén, Ed., Jean Tinguely: ‘Méta’’, London 1975, pp. 24-25, installation view Christina Bischofberger, Jean Tinguely: Catalogue Raisonné 1954-68, Zurich 1982, p. 23, no. 15, illustrated Created in the seminal years of 1954-55, Meta-Malevich ‘Formes movementées’’ is an exceptional example of Jean Tinguely’’s inventiveness, his on-going exploration of the evolving bonds between man and machinery, and most crucially the new potential for a sense of mechanic dynamism in art. Executed in a restrained palette of red, blue and white on a black background, the artist draws from the formal language of modern abstract painters, reinvigorating the familiar forms of early twentieth-century masterpieces with a kinetic energy that goes beyond the illusion of optical effects instantiating the artwork’’s animate nature within the space. As part of a small yet iconic series of works created predominantly in 1954-1955, which propagated formal variations on this decisive aesthetic, Meta-Malevich ‘Formes movementées’’ sees Tinguely paying whimsical homage to his revolutionary artistic forebears of the Twentieth Century from a standpoint that wavers between ecstatic inspiration, and iconoclastic playfulness. Monotone white lines, with accented shapes consisting of primary blue and red Meta-Malevich ‘Formes movementées’’ recalls the simplified colour grids of Piet Mondrian and proponents of the De Stijl. In their conquest for abstract clarity and the development of ‘Neo-Plasticism’’, conceived two decades before the creation of this work, Mondrian’’s idiosyncratic grids would find fame through their structured monumentality and their enduring presence of careful balance. Here Tinguely maintains some of the pure elements of art – namely, unaltered colours and simple geometric shapes – and transports these elements into a system of ever shifting movement, disrupting their pictorial stability in favour of playfully unsettled relations. This sense of mechanised movement is foreshadowed somewhat by the hanging mobiles of Alexander Calder initiated in the 1930s which utilised a similar palette. Calder mapped a trajectory of technical development that was emulated by Tinguely who would move from the manual to the electrically operated. But whilst the free isolated elements of Calder’’s mobiles rotated with an emphatically organic sense of rhythm, Tinguely pursued randomness and a lack of sequence in the mechanically moving elements of his pieces. What interested the artist most, which is most perfectly perceptible in Meta-Malevich ‘Formes movementées’’, was the ability of the image to constantly modify itself. Here Tinguely has used asynchronous gears moving at different speeds so that the configuration of shapes would only repeat themselves at immeasurable intervals, if ever at all. Despite Tinguely’’s ‘meta-mechanical’’ pieces claiming an evident affinity with Mondrian and Calder, the overriding reference here is made to Russian Suprematist Kazimir Malevich with whose work an intense visual parallel is drawn, almost to the extent of pastiche. Malevich’’s Suprematist abstractions found their logical goal in the calculated balance of discrete coloured forms in order to create a monumentally spiritualistic effect. Here, such strident utopianism is torn apart, infusing those forms that stood for the eternal, with a sense of ephemerality through their interminable transit. As noted by Pontus Hultén, Moderna Museet director during the 1960s and an influential supporter of Tinguely’’s practice, with his irreverent remixing of artworks came a feeling of intellectual stasis, caught between overly cold abstraction and the gratuitous flamboyance of Abstract Expressionism: “the Constructivists, with their faith in rational method, have an outlook that resembles the hope of early morning ambition and hesitation. The mood of the spontaniests is more like the dejection of evening, and the confused feeling that anything might be possible. Their art is bewildering, without limits or restraints, but at the same time isolated. By 1955 it was quite clear that art would have to break away from these two static alternatives if it was to press on to new perspectives” (Karl Gunnar Pontus Hultén, Jean Tinguely: ‘Méta’’ , London 1975, p. 7). Meta-Malevich ‘Formes movementées’’ provides a spirited example of Tinguely’’s energised iconoclastic tendencies, and his dalliances with notions of ‘anti-art’’. Indeed he was keen to accept classification as neo-Dadaist. Admittedly he was fascinated by the idea of throwing a grenade at the Mona Lisa, even making detailed plans that he was too deterred by the threat of prison to ever carry out. Of course, much like the Futurists, an aggressive fascination with the mechanical processes of modern life was what drove Tinguely to pursue new territory with his amalgamation of art and mechanics. This drive is typified in his adoration of motor racing, which he saw as a balletic embodiment of his core artistic concerns. As noted again by Hultén “in this sport, man and machine are tested to their limit. A motor race is an irrational, sometimes absurd event in which anything can happen; to attempt the impossible is one of the rules of the game” (Pontus Hultén, A Magic Stronger than Death, London 1987, p. 29). Like motorcars racing on a conceptual track, Tinguely’’s select forms in Meta-Malevich ‘Formes movementées’’ run with incongruous and competing rhythms, with an isolated dynamism that re-chartered the expectations of art history. Fig. 1 Piet Mondrian Composition No. 7 with Red and Blue , 1937-1942 Munson-Williams-Proctor Arts Institute, Utica Image: © 2015. Munson Williams Proctor Arts Institute/Art Resource, NY/Scala, Florence Fig. 2 Kazimir Severinovich Malevich Suprematist Composition , 1915 Image: © The Museum of Art, Tula, Russia/ Bridgeman Images Fig. 3 Alexander Calder Double Perforated Blue , 1958 Artwork: © 2015 Calder Foundation, New York / DACS London
Jean Tinguely - Dankesbrief

Jean Tinguely - Dankesbrief

Original 1990
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Lot number: 3095
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Description: TINGUELY, JEAN (Basel 1925 - 1991 Bern) Dankesbrief. 1990. Mischtechnik auf Papier. Rechts signiert und datiert: Jean Tinguely. 14. Sept. 1990. 29,5 x 41,5 cm. Provenienz: Schweizer Privatsammlung. TINGUELY, JEAN (Basel 1925 - 1991 Bern) Dankesbrief. 1990. (letter of thanks) Mixed media on paper. Signed and dated right: Jean Tinguely. 14. Sept. 1990. 29.5 x 41.5 cm. Provenance: Swiss Private Collection.
Jean Tinguely - ‘red One (meta-harmonie En Orange)’’’’

Jean Tinguely - ‘red One (meta-harmonie En Orange)’’’’

Original 1989
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Lot number: 70
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Jean Tinguely, ‘Red One (Meta-Harmonie en Orange)’’’’, 1989 Pastel chalk, gouache and pencil over lithograph on colors on strong wove paper Switzerland, 1989 Jean Tinguely (1925-1991) - Swiss painter, sculptor, graphic artist and designer of the ‘Nouveau Réalisme’’’’ Signed in pencil with ‘Jean Tinguely’’’’ lower right Inscribed in pencil with ‘EA’’’’ and partly deleted dedication ‘pour(… )A’’’’ within the depiction lower left Dated in chalk with ‘le 3 avril 1989’’’’ to the upper margin Inscribed in pencil by another hand with ‘Variante 10 / 7. farbig’’’’ to the lower left margin Matted under glass in a white varnished wooden frame Sheet size: 38 x 50 cm Good condition Typical ‘color explosion’’’’ by Jean Tinguely; the current highest auction record for a similar mixed media work by Tinguely is approximately €15,000 With the present work, executed in mixed media, Jean Tinguely (1925-1991) made ​​reference to his sculptures ‘Meta-Harmonies I and II’’’’ dated 1978-1979. These sculptures consist of wheels, rods, instruments and found objects attached to moving racks. The user was invited to explore the sculpture by walking around it, being surprised by acoustic elements, controlled by small computers. Tinguely has called these works ‘Ton-Mischmaschinen’’’’ (sound-mixing machines). The present work plays with the repertoire of the ‘meta-harmonies’’’’ in differentiated and harmonious color shades. The sheet is signed in pencil with ‘Jean Tinguely’’’’ lower right and inscribed in pencil with ‘EA’’’’ and marked with the (partly deleted) dedication ‘pour(…)’’’’ within the depiction lower left. It is dated in chalk with ‘le 3 avril 1989’’’’ to the upper margin and inscribed in pencil by another hand with ‘Variante 10 / 7. farbig’’’’ to the lower left margin. The reverse bears the inscription ‘Color-tex Antoniante Valencia’’’’. The work is mounted in a mat to the upper margin in a white glazed wooden frame. It is in good condition, showing minor creases and light stains to the lower margin of the paper. The frame shows only slight signs of use. The image measures 29 x 41 cm, and the sheet size is 38 x 50 cm. Overall dimensions, including the frame: 81, 5 x 71 cm. Jean Tinguely (1925-1991) The Swiss painter and sculptor Jean Tinguely, born in 1925 in Freiburg, is well recorded for his mobile, machine-like sculptures. His early works of art are made of wire, wire-plate-compositions as well as figures from colorful sheet metal parts. His abstract works reflect elements of Kasimir Malevich, Wassily Kandinsky, and Auguste Herbin. Tinguely's cinetic sculptures are considered to be cheerful, playful and funny. In 1960, he became a member of the Artists' Association ‘Nouveaux Réalistes’’’’ (New Realists), which was founded under the direction of Pierre Restany. In the same year, Tinguely caused attention by his large machines made of scrap in the garden of the Museum of Modern Art in New York. His later works are extended by the factor of light, producing numerous light sculptures.
Jean Tinguely - München

Jean Tinguely - München

Original
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Lot number: 6424
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Description: TINGUELY, JEAN (Fribourg 1925 - 1991 Bern) München. Colour silk screen. 75/100. Signed lower right: Tinguely. Sheet size 84 x 59 cm on wove paper. TINGUELY, JEAN (Fribourg 1925 - 1991 Bern) München. Farbserigrafie.75/100. Unten rechts signiert: Tinguely. Blattmass 84 x 59 cm auf Vélin.
Jean Tinguely - Chaos No. 1

Jean Tinguely - Chaos No. 1

Original 1974
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Lot number: 85
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Jean Tinguely 1925 - 1991 CHAOS NO. 1, 1974 Unten rechts signiert, unten links datiert Mischtechnik und Collage auf Karton mit Passepartout 35.5 x 55.5 cm Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Minute pinhole in the corner. Paper was folded twice and is slightly creased in the middle of the right edge. Good condition. "In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue. NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
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