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Grünewald, 2002
Vladimir Velickovic   Best sellers Emerging artists

Painting : mixed media · 104 x 66 cm 40.9 x 26 inch · Ready to hang

€25,800 25 800 €
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Shipped from: France

Delivery to: Germany , € 96

Estimated delivery: Less than one week

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Verified Reviews : 9.6/10
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About the artwork

Type

Painting : Unique artwork

Condition

Artwork sold in perfect condition, framed, ready to hang

Authenticity

Sold with certificate of Authenticity from the gallery

Invoice from the gallery

Signature

Hand-signed by artist

Technique & Support

Dimensions ( cm • inch )

104 x 66 cm 40.9 x 26 inch Height x Width x Depth

Artwork dimensions including frame

115 x 77 cm 45.3 x 30.3 inch

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Credentials

Vetted seller since 2015

Description
The «Grünewald» series was initiated in 1994 with a paper of 104 x 65 cm format. Its generic title is directly related to the crucifixion of the Issenheim altarpiece painted by Matthias Grünewald at the end of the 15th century. Throughout this series Velickovic focused on the transcription of two specific parts of the original: the hands on one side, the torso and the face on the other. This deliberate will to reduce the reading of the original to the hands, torso and face takes away from these works their original religious universe. This reduction also differentiates the «Grünewald» series from that of the «Crucifixions» in which the bodies are represented in their entirety but without faces. The «Grünewald» series includes acrylics on paper, inks on paper, charcoals on paper and oils on canvas. The sizes vary from 27 x 35 cm to 210 x 150 cm.
The work presented here is very particular in the sense that it is the only one in the series made with a line using a brush on a partially colored background.
Vladimir Velickovic, Grünewald
Serbia  • 1935
236 followers

Presentation

In 1960, Vladimir Velickovic graduated from the Belgrade School of Architecture . It is intended actually to painting and held his first solo exhibition in 1963. After the price of the Paris Biennale in 1965 , he moved there the following year and still lives there today. He is with Dado and Ljuba Popovi, artists of the same generation, one of the main three Yugoslav painters coming in France.

It will have represented Yugoslavia at the Venice Biennale 1972; and from 1983 to 2000 it will be foreman at the École nationale supérieure des Beaux-Arts in Paris and will be an important seat . Witness, in his childhood, of the atrocities committed by the Nazis in Yugoslavia, Vladimir Velickovic expresses through painting , pain and violence of this memory.

In the early 1960s , it determines the themes that appear permanently in his work. He paints men or animals (usually rats or dogs) or vanity paintings whose bodies are confronted with dramatic and terrifying situations.

In 1972 , he produced a series of paintings and drawings inspired by the photographs of Eadweard Muybridge (series of "Descent" [ 1989-1991 ] and "hooks" [ 1983-1991 ]) . He " seeks above all to leave a scar" in the memory of the viewer of the painting.

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