Splendeur de la catastrophe
Vladimir Velickovic
Fine Art Drawings - 30 x 16.2 cm Fine Art Drawings - 11.8 x 6.4 inch
$1,272
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Corbeau,
2008
by Vladimir Velickovic
Painting : oil 116 x 89 x 3 cm 45.7 x 35 x 1.2 inch
$38,727
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About the artwork
Unique work
Hand-signed by artist
Sold with certificate of Authenticity from the gallery
Invoice from the gallery
Painting: oil
116 x 89 x 3 cm 45.7 x 35 x 1.2 inch Height x Width x Depth
Beige wood floater frame
122 x 95 x 6 cm 48 x 37.4 x 2.4 inch
Artwork sold in perfect condition
Artwork location: France
Vladimir Velickovic once confided us that, from his Eastern European culture, he would have inherited a certain tendency to want to say too much in one go and that the critical look he takes at each of his works is essentially to reduce it to the essential, to eliminate what he calls "the anecdotal". From this point of view, "Corbeau" is one of the artist greatest successes and presents a brilliant achievement of what he seeks to express and the means he uses to perform it.
The canvas is signed on and dated on the back, but the front also shows several of its usual signatures: the presence of a sign of danger with a death's head, a hole in the ground around which crows gravitate, a sky of soot peaked through by glows of fire. The setting being planted, comes the main subject : the raven and the pole on which it is perched. Is this pole really in the foreground, or does its disproportionate size show just how important it is in the scene, much as size defines the hierarchy of characters in medieval painting? We opt for the second solution because the tiny red reflection on the raven's plumage can only be explained by the proximity of the latter with the fire. The post is painted at a minimal level. Only the "useful" part, the one that supports the bird is detailed.
The base is just sketched. The drawing is a concept and when what it wants to mean is acquired, there is no need to develop it. In other works the fence wire that delimits the dangerous space is replaced by a wire netting that hatches the image and gives it its dynamism. Nothing of the sort here, the broken stay of the post floating in the wind is enough to confer this dynamism while whisking the scene. It is also mark of extreme desolation. A bit like shutters flapping in the wind are symbolic of an abandoned house. As for the raven it imposes itself in the image by the strong chromatic contrast which detaches it from its environment. But the work conceals an extra dimension by the representation, erased at the three-quarters but still present, of a ladder, probable vestige of an earlier version whose the artist did not want to completely remove the trace.
A ladder is above all a construction materializing the division of a distance in regular degrees. It is therefore a tool whose realization can only be attributed to reflection. The ladder here induces a human presence because it is characteristic of his intelligence. We can also note that in Western tradition the ladder is often linked to a gallows' presence and is a recurring element of the representation of Calvary. As a result, it constitutes here for us an essential cognitive element of the painting. The scorched earth, the glows of fire, the damaged fence, the presence of the crows, birds of the mass graves, all of this has probably the man for origin. The raven, an opportunistic bird, is just taking advantage of this tragedy. Nothing suggests the time when the facts occur but for the raven, whatever that time, deleting its ecosystem has never been on the agenda.
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The canvas is signed on and dated on the back, but the front also shows several of its usual signatures: the presence of a sign of danger with a death's head, a hole in the ground around which crows gravitate, a sky of soot peaked through by glows of fire. The setting being planted, comes the main subject : the raven and the pole on which it is perched. Is this pole really in the foreground, or does its disproportionate size show just how important it is in the scene, much as size defines the hierarchy of characters in medieval painting? We opt for the second solution because the tiny red reflection on the raven's plumage can only be explained by the proximity of the latter with the fire. The post is painted at a minimal level. Only the "useful" part, the one that supports the bird is detailed.
The base is just sketched. The drawing is a concept and when what it wants to mean is acquired, there is no need to develop it. In other works the fence wire that delimits the dangerous space is replaced by a wire netting that hatches the image and gives it its dynamism. Nothing of the sort here, the broken stay of the post floating in the wind is enough to confer this dynamism while whisking the scene. It is also mark of extreme desolation. A bit like shutters flapping in the wind are symbolic of an abandoned house. As for the raven it imposes itself in the image by the strong chromatic contrast which detaches it from its environment. But the work conceals an extra dimension by the representation, erased at the three-quarters but still present, of a ladder, probable vestige of an earlier version whose the artist did not want to completely remove the trace.
A ladder is above all a construction materializing the division of a distance in regular degrees. It is therefore a tool whose realization can only be attributed to reflection. The ladder here induces a human presence because it is characteristic of his intelligence. We can also note that in Western tradition the ladder is often linked to a gallows' presence and is a recurring element of the representation of Calvary. As a result, it constitutes here for us an essential cognitive element of the painting. The scorched earth, the glows of fire, the damaged fence, the presence of the crows, birds of the mass graves, all of this has probably the man for origin. The raven, an opportunistic bird, is just taking advantage of this tragedy. Nothing suggests the time when the facts occur but for the raven, whatever that time, deleting its ecosystem has never been on the agenda.
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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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Vladimir Velickovic
Corbeau, 2008
Painting
$38,727
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