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作品介绍
Samy Kinge has confirmed the authenticity of this work.
Brauner was born in Romania and spent some of his childhood in
the Carpathians, an environment crucial to the development of the
personal mythology and iconography of his paintings. His father was
a spiritualist and from a young age, Brauner too was closely
involved with the occult. His dark childhood experiences were
important to him in both his life and his art, which were
profoundly connected. Brauner’s epitaph reads: "Painting is life,
real life, my life."
Brauner left his homeland and settled in Paris in 1930, where
he became deeply involved with the Dada and Surrealist review UNU
and worked alongside Constantin Brancusi, Yves Tanguy, and Alberto
Giacometti. Officially joining the Surrealist movement in 1932,
Brauner derived much inspiration from the flatness of folk art, as
well as from themes of spiritualism. Through his interest in
arcana, Brauner became particularly obsessed with all matters
related to eyes and sight and in 1931 he painted a self-portrait in
which one of his eyes is deliberately gouged out (fig. 1). This
remarkable portrait is more prophetic than anyone could have
predicted for, eight years later, Brauner lost his eye intervening
in a fight. On his way to the hospital he said he should never have
painted the cyclopic self-portrait. Already a deeply mystic artist,
this event confirmed, in his mind, the spiritual nature of his work
and vision. The monsters that peopled his creations changed
dramatically from this time. His paintings became imbued with a
frantic vitality less evident in his earlier work and the strange
creatures of his paintings became gradually more abstract and
geometrically simplified.
 维克多·布罗纳 Nepotopen 局部
During the war and for many years thereafter, Brauner
experimented with the medium of encaustic, creating "candle
paintings" using wax when he did not have ready access to oil paint
and canvas. In the present work, executed in 1945, the medium is
applied with particular heaviness. Titled Nepotopen, a palindrome
with the rather cryptic meaning—"not submerged" or "undipped"—the
central element in the composition can be read as a mysterious bird
in one direction and as an arm with a hand clutching a scepter in
the other direction. Eyes figure prominently, belying the artist's
personal fascination with this element of human
anatomy.
 维克多·布罗纳 Nepotopen 局部
Of Brauner's oeuvre, Susan Davidson has written, "An erudite
man of high intellect, Brauner made paintings that often have a
naïve, folk art quality. Primarily focusing on figuration—whether
human, animal, occult or mythological beings—his works conversely
are often realized in boldly colored abstract shapes permeated by
expanses of decorative two-dimensional patterning. While his
paintings often seem thematically simple and straightforward,
invoking images from a child's storybook, they are in fact
underpinned by a lexicon of symbolism and archetypes that waves an
intricate tapestry of meaning" (Victor Brauner, Surrealist
Hieroglyphs, exh. cat., The Menil Collection, Houston, 2001, p.
9).
William Lindsay White, who purchased the present work from
Brauner’s principle American dealer, Julien Levy, was the third
generation of an important American family. His grandfather, Dr.
Allen White, was a well-known politician in Kansas during the
mid-19th century. His father, William Allen White, was an
internationally renowned journalist, newspaper publisher, political
pundit and Pulitzer Prize winning author who was posthumously
honored by having his image placed on a postage stamp by the U.S.
Postal Service in 1948. William Lindsay White continued in his
father’s footsteps, becoming a noted international journalist,
broadcaster, author and politician in his own right. He was on the
staff of the Washington Post and Fortune magazine in the 1930s,
became a war correspondent for numerous American newspapers and
represented the Columbia Broadcasting System as European
correspondent. He later represented the North American Newspaper
Alliance and Reader’s Digest in London and became an editor of
Reader’s Digest. He wrote three books that were made into movies,
and John F. Kennedy once commented that he was inspired to
volunteer for P-T boat service in the Navy after reading William
Lindsay White’s book, They Were Expendable. Today, the White family
home contains a collection that was accumulated over these three
generations and the Kansas State Historical Society plans to
maintain the house and contents. The home was declared a National
Historic Landmark in 1976 and was donated to the Kansas State
Historical Society in 2001.
【摘译】
在战争期间和此后许多年里，布罗纳试验了中性的媒介，在没有准备好油漆和帆布的时候，用蜡制作蜡烛画。在目前的作品中，1945操作时，该介质特别沉重。标题为“Nepotopen”，具有相当隐晦的含义-“不淹没”或“undipped”-构成构图的中央元素可以作为一只神秘鸟，在一个方向上被读成一只手，手握着一根权杖，在另一个方向上握着权杖。眼睛突出地突出了艺术家对人体解剖元素的个人魅力。
在布罗纳的作品中，苏珊·戴维森写道：“一个学识渊博的人，有着高智慧，有着丰富的绘画，常常有着一种很天真的民间艺术品质。主要侧重于塑造-无论是人类、动物、神秘或神话生物-他的作品相反，往往都是以大胆色彩抽象的形式实现，而这些抽象形状则渗透着广阔的装饰二维图案。虽然他的绘画通常看似简单明了，但却从儿童故事书中援引图像，实际上是由象征和原型的词典所支撑的，它会发出错综复杂的含义，“(victor
Brauner，超现实主义象形文字，exh.cat.，collection，休斯顿，2001，p.9)。
作品细节
 维克多·布罗纳 Nepotopen 局部  维克多·布罗纳 Nepotopen 局部  维克多·布罗纳 Nepotopen 局部  维克多·布罗纳 Nepotopen 局部  维克多·布罗纳 Nepotopen 局部  维克多·布罗纳 Nepotopen 局部  维克多·布罗纳 Nepotopen 局部
画家简介
维克多·布罗纳（Victor
Brauner，1903-1966）犹太裔，生于罗马尼亚皮亚特拉。画家、雕塑家。毕业于布加勒斯特国家艺术学院。曾尝试过达达主义、抽象派、表现主义，之后是超现实主义。1930年定居法国巴黎，并遇到了康斯坦丁，同时成为了罗马尼亚诗人本杰明·封达纳的朋友，后来进入超现实主义者的圈子。1935年回到布加勒斯特。1935年后写自传体小说。1942年再去巴黎蒙马特区。
作品资料
Nepotopen
作者 Victor Brauner（1903-1966）
尺寸 64.8×49.5cm
作品分类 西画雕塑>西画雕塑其它
创作年代 1945年作
估价 USD 100,000-150,000
成交价 RMB 1,377,947
专场 印象派及现代艺术（日间拍卖）
拍卖时间 2017-05-16
拍卖公司 佳士得纽约有限公司
拍卖会 2017年5月拍卖会
signed and dated ‘VICTOR BRAUNER 7.XII.1945’ （lower right） and
titled ‘NEPOTOPEN’ （lower left）； titled again ‘“NEPOTOPEN”’ （on the
reverse）
來源
Julien Levy Gallery, New York.
Mr. and Mrs. William Lindsay White, Emporia, Kansas (acquired
from the above, January 1948).
By descent from the above to the present owner.
拍品前備註
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