Marvelous Monkey, 1967
Christian Ludwig Attersee

Print : Screen Print

70 x 95 cm 27.6 x 37.4 inch

$1,089 1 089 $US

One of the last works available by this artist

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About the artwork

Type

Numbered and limited to 100 copies

1 copy available

Signature

Hand-signed by artist

Authenticity

Sold with certificate of Authenticity from the gallery

Invoice from the gallery


Dimensions cm inch

70 x 95 cm 27.6 x 37.4 inch Height x Width x Depth

Framing

Not framed


Artwork sold in perfect condition

Artwork location: Switzerland

This large-format silk screen on thin cardboard is bold, surreal composition that blends pop culture aesthetics with whimsical, dreamlike imagery.

Hand-signed, dated, and numbered in pencil by Attersee lower right

Publisher : Edition Bischofberger Zurich 1970

Printer : Stingelin Basel

Literature : Gorsen - Attersee : Werkverzeichnis 1963 - 1994 und ein monographischer Essay 245-253.

The work is not framed. Handmade framing options in our own frame-shop are available to enhance the artworks presentation and preservation.

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About the seller

SitterArt • Switzerland

Vetted Seller


Christian Ludwig Attersee, Marvelous Monkey
Austria  • 1940

Presentation

After he had spent his youth in Upper Austria (also at the Attersee, the origin of his artist's name), Attersee began his studies in 1957 at the then-named Vienna Akademie für angewandte Kunst' (Academy of Applied Arts, in 1998 renamed to "University of Applied Arts") with E. Bäumer, keeping these up until 1963. From 1966 on, he was involved with the short-lived Viennese Actionism movement. Being very intrigued by object and action art from the start, Attersee attempted to combine music, speech, photo and video art with the basic form to create a new form of total artwork (also known by the German term Gesamtkunstwerk) like object inventions such as the "Speisekugel" ("food sphere"), the "Speiseblau" ("food blue"), the "Prothesenalphabet" ("prosthetical alphabet"), the "Speicheltönung" ("saliva tinge" or "saliva hue"), the female vagina as an object of art, as well as the self-coined "Attersteck". In later years, the quintessence of his work shall be characterized by subjects like sexuality and natural studies. One example is the provocative Kinderzimmertriptychon (Nursery Triptych) from 1971, which is inspired by a picture-book illustration of Fedor Flinzer.]

His work is denoted by a figural-to-symbolic style transition, bright colors and an energetic ductus. Moreover, there are ambiguous, artsy connotations and imaginations of a likewise free-spirit and very Austrian mentality with a bias towards sexual malapropism. The context too gets incorporated into the artist's work many times, along with additional textual elements embedded into it.

Attersee's exhibitions are likely to be composed of art shows, accompanied by music and literature, and to some extent even by fellow artists attending and participating in the show.

In 1984, Attersee represented his home country at the Venice Biennial. Since 1990, he has held a chair at the Vienna University of Applied Arts and is one of the most renowned contemporary Austrian artists worldwide.

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Printmakers

Austrian artists

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