La Chute, 1975
Print : lithography · 50 x 65 x 0.5 cm 19.7 x 25.6 x 0.2 inch
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Shipped from: France
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Verified Reviews : 9.6/10
About the artwork
Type
Print : numbered and limited to 25 copies
1 copy available
Condition
Artwork sold in perfect condition, not framed
Authenticity
Sold with certificate of Authenticity from the gallery
Invoice from the gallery
Signature
Hand-signed by artist
Technique & Support
Dimensions ( cm • inch )
50 x 65 x 0.5 cm 19.7 x 25.6 x 0.2 inch Height x Width x Depth
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Art gallery
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Description
La chute (The Fall), 1975
Medium: Original color screenprint / serigraph on paper
Edition: Apart from the regular edition published in XXe Siècle, No. 44 (Panorama 75), June 1975
Printer: Yves Méry, ParisPublisher: Éditions des Cahiers d'Art de la revue XXe Siècle (San Lazzaro), Paris
Inscriptions: Signed, titled, numbered as H.C. and dated lower right, Hors Commerce X/XXV.
Description
A powerful example of Vladimir Veličković's signature investigation into human movement, violence, and mortality. La chute depicts a contorted male figure frozen mid-air in a state of suspended descent.Executed with the artist's characteristically sharp, analytical line work, the composition juxtaposes the raw, visceral muscularity of the human body against rigid, scientific geometry. The figure is cross-sectioned by horizontal dotted lines, perspective axes, and a sharp horizon line labeled "A" and "B." Crimson geometric arrows and alignment markers (labeled x, o, and a) bisect the falling body, transforming a moment of existential trauma into a calculated, almost forensic experiment in space and time.Veličković, a central figure of the French Narrative Figuration movement, often used these highly structured grids and mathematical annotations to evoke a sense of clinical isolation, reflecting his broader lifelong themes of war, aggression, and the fragility of human existence.
Condition Note
Full margins. Typical faint age-toning to edges, consistent with the original publication paper stock. Crisp impressions with strong blacks and vibrant red screenprinting.
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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