Beschrijving
Signed, dated and inscribed on the reverse Akkerman 1978 Enschede. Acrylic on canvas laid down on a diamond shaped panel. Provenance: Art & Project, Amsterdam.
Like Piet Mondriaan, Elsworth Kelly and many others throughout the history of Modernism, Akkerman gradually but decisively moved from a representational to a non-representational art. In Akkerman's case, the final and definitive step towards total abstraction, or an "Art-pour-l'Art", was taken in 1973, when, as he has explained himself, "his motifs were worn out" and "he could no longer use even the last recognizable reference, the horizon" (cited in M. Vos, Ben Akkerman, schilder, Amsterdam 1988, p. 55). His oeuvre, which stretches over more than six decades, can be divided into three periods: the first, including the more or less naturalistic landscapes from his youth, the second, the abstracted landscapes painted in the early 50's until the early 70's, and finally, the third period with his mature abstract drawings and paintings.
In the biography on the artist, Marcel Vos writes: "Nothing comes from nowhere, every decision and every action is subordinate to a meticulous control, every new painting builds upon the preceding one and creates conditions for the one to come". He continues: "Clarity and precision, sharpness, carefulness and a relentless attention for details result in paintings which follow in the best traditions of Dutch painting..." (ibid, p. 50).
With its diamond shape and light ivory colour, its carefully built up paint surface and dynamic system of lines, the present lot is at the core of Akkerman's production. A similar version is in the collection of the Stedelijk Museum in Amsterdam (ibid, p. 70 (ill.)).
Details
- Databanknummer:
- 72206
- Lotnummer:
- -
- Advertentietype
- Archief
- Instelling:
- Christie's Amsterdam B.V.
- Veilingdatum:
- -
- Veilingnummer:
- -
- Stad
- -
- Limietprijs
- -
- Aankoopprijs
- -
- Verkoopprijs
- -
- Hamerprijs
- -
- Status
- Verkocht
Technische details
- Kunstvorm:
- Schilder- en Tekenkunst
- Technieken:
- Acryl
- Dragers:
- Doek
- Lengte:
- 104 cm
- Breedte:
- 99 cm
- Hoogte:
- 0 cm
- Oplage:
- -
Beschrijving
Signed, dated and inscribed on the reverse Akkerman 1978 Enschede. Acrylic on canvas laid down on a diamond shaped panel. Provenance: Art & Project, Amsterdam.
Like Piet Mondriaan, Elsworth Kelly and many others throughout the history of Modernism, Akkerman gradually but decisively moved from a representational to a non-representational art. In Akkerman's case, the final and definitive step towards total abstraction, or an "Art-pour-l'Art", was taken in 1973, when, as he has explained himself, "his motifs were worn out" and "he could no longer use even the last recognizable reference, the horizon" (cited in M. Vos, Ben Akkerman, schilder, Amsterdam 1988, p. 55). His oeuvre, which stretches over more than six decades, can be divided into three periods: the first, including the more or less naturalistic landscapes from his youth, the second, the abstracted landscapes painted in the early 50's until the early 70's, and finally, the third period with his mature abstract drawings and paintings.
In the biography on the artist, Marcel Vos writes: "Nothing comes from nowhere, every decision and every action is subordinate to a meticulous control, every new painting builds upon the preceding one and creates conditions for the one to come". He continues: "Clarity and precision, sharpness, carefulness and a relentless attention for details result in paintings which follow in the best traditions of Dutch painting..." (ibid, p. 50).
With its diamond shape and light ivory colour, its carefully built up paint surface and dynamic system of lines, the present lot is at the core of Akkerman's production. A similar version is in the collection of the Stedelijk Museum in Amsterdam (ibid, p. 70 (ill.)).
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