Lieux d'Aisance qui ne sont pas accessibles a tout le monde

Share on FacebookShare on Google+Tweet about this on TwitterPin on PinterestShare on LinkedInShare on TumblrEmail this to someone
Share
0%
Lieux d'Aisance qui ne sont pas accessibles a tout le monde
100 x 100 cm
Acrylic on canvas
1967
Signed titled and dated 1967 on the reverse
Painting
Galerie Mathias Fels & Cie Paris; Noel Rovers d'Hondt Collection Malaga; Thence by descent to the present owner;; ;; A masterful composition which combines the representational and the abstract Peter Klasen's Lieux d'Aisance qui ne sont pas accessibles a tout le monde (literally "Bathrooms that are not accessible to everybody") of 1967 is wonderfully evocative of the decade in which it was created.; ; An exceptional early work from a period when the artist's rich talents were first becoming widely recognised this painting encapsulates many of the elements that were to establish Klasen as a key player in the French avant-garde scene of the 1960s. Produced using an airbrush which sprays a fine mist of paint onto the canvas it features both hard edge and soft focus the viewer's gaze darting from the crisp cool reflections on a metal pipe across an expanse of vivid blue to the soft fleshiness of glossy female lips. Like a trompe l'oeil its painstakingly painted surface suggests a collage of appropriated images partial remnants of photographs torn from a book or a magazine and pasted onto the canvas. It presents us with a challenging and yet timeless vision of human and product as one and the same the eroticised female as commodity in a world beholden to the laws of supply and demand.;; From 1962 Peter Klasen became affiliated with the group known as La Nouvelle Figuration a loose association of artists that also included Valerio Adami Erro and Herve Telemaque. Celebrated in a landmark 1964 exhibition entitled Mythologies Quotidiennes ("Everyday Mythologies") at the Musee d'Art moderne de la Ville de Paris the members of La Nouvelle Figuration revived the tradition of figurative painting but remained resolutely modern in their approach towards the human form. The influence of Pop Art increasingly popular in the United States at this time is evident in the subject matter of the present work which combines the mechanical and mundane with the enticingly sensual the female mouth placed in an apparently unlikely juxtaposition with a bathroom sink and an electrical plug. The result however is utterly compelling creating a clash of warm human flesh and cold inanimate substance a contrast of saturated colour and subtle monochrome the improbable meeting of the pedestrian and the virtually pornographic. Indeed the critic Gilbert Lascault observed that: "Klasen's works constantly evoke the existence of men and women. They never (or almost never) represent them in their entirety...fragments shadows reflections traces and remains: under all of these forms the human is captured like a game of absences and presences which refuse to take a direct approach." (Gilbert Lascault Klasen: Retrospective de l'Oeuvre Peint de 1960 a 1987 Aix-en-Provence 1987 pp. 59-60)
2016-06-29
28
$21,480
$28,640
Not sold