Rhinocéros et éléphants, 1984

by Jürg Kreienbühl

Print : lithography 40 x 28.5 inch

$2,406

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About the artwork

Type

Numbered and limited to 18 copies

3 copies available

Signature

Hand-signed by artist

Authenticity

Sold with certificate of Authenticity from the gallery

Invoice from the gallery


Medium

Print: lithography

Dimensions cm inch

40 x 28.5 inch Height x Width x Depth

Framing

Not framed


Tags

Architecture

Animal

Figurative

Elephants

hippopotamus

Museum

Artwork sold in perfect condition

Origin: France

In 1981, Jürg Kreienbühl was invited by a friend painter to visit the Great Gallery of Evolution (former gallery of Zoology) in Paris. Since 1965, it was closed to the public because for disrepair reasons, to the great despair of researchers of the Museum. Here is the story made by Kreienbühl when he entered into the great gallery:



“What I saw exceeded then all that I had imagined. It was an immediate and violent shock which swept away suddenly all the forthcoming project. The vision of the hall, huge like a railway station, left me stuck. From the darkness appeared an African elephant with erect ears, a group of giraffes with slender necks curved and some gigantic whales skeletons. In a slight bluish mist, once could guess herds of zebras, buffalos and wild beasts, on the lookout. Emotion swept over me and turned into shivers and sweat. My heart was beating faster, my ears were buzzing and I remembered these words by Courbet: “I am touched”.



Kreienbühl spent four years in this grounded Noah’s ark until it was decided to move the collections to an underground place, called “Zootheque”. It put an end to the artist's works. In may 1985, the National Museum of Natural History organized an exhibition of these artworks, entitled “Tribute to the gallery of Zoology”.



Bibliography:

Number L110 of Jürg Kreienbühl's catalogue raisonné:

"Jürg Kreienbühl - catalogue raisonné de l'oeuvre gravé et lithographié 1952-1997", Musée du dessin et de l'estampe originale, Gravelines, 1998.
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About the seller

Jean-Marie Oger • France

Artsper seller since 2015

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Collector’s Guide

Imagine it at home

Jürg Kreienbühl, Rhinocéros et éléphants
Jürg Kreienbühl

Jürg Kreienbühl

Switzerland  • 1932

Born in 1932 in Basel (Switzerland), Jürg Kreienbühl died in 2007 in Cormeilles-en-Parisis (France).

After an apprenticeship as a house painter, he goes to France, thanks to the earning of a scholarship, where he paints rubbish tips and cemeteries in the suburb outside Paris. He ends up living in the heart of the slum area in Bezons, in a old bus without wheels. There, in extremely difficult conditions, he makes the portrait of this cour des miracles filled with his friends and models, the migrants and the gypsies. Four years later, he definitely settles near Argenteuil and buys a "caravan-studio" to keep on painting from nature fringes, prostitutes, vagrants and disabled people from the waste grounds and slums in the surrounding.

From the 1970's, Jürg Kreienbühl takes up again the practice of etching and lithography. His important and continuous production accompanies, in addition to portraits and still lives, all the subjects of the following years: a former factory of unsold saints for churches (1975), the pollution and the “France" liner at the “quay of oblivion" in Le Havre (1978-1979), the cemetery of Neuilly-sur-Seine and the building site of La Défense (1980), the abandoned treasures of the gallery of paleontology - closed at that time - in the Jardin des plantes in Paris (1982-1985), the nuclear power station in Gravelines and the port of Dunkirk (1995-1997) and the Swiss subjects in the 1990's (The Warteck brewery, Tribute to Basel, The enchanted garden of artist Bernhard Luginbühl, mountains landscapes).

Expressed at his beginning through an expressionist manner, his fascination for rot and destruction finds a definite form in an objective realism, establishing an uncompromising picture of the socio-economic and environmental disruption in the second half of the 20th century. With the accuracy and hallucinatory sharpness of a scientist, Jürg Kreienbühl makes himself the disillusioned painter of the old beliefs, the suburbs and the condemned worlds, the social outcasts and the ravages from urbanisation and industrialisation.

During the artist's lifetime, he has been exhibited and purchased by major public and private institutions (Kunstmuseum Basel, Aargauer Kunsthaus, FRAC Ile-de-France, UBS AG collection, Migros Museum…). After his death, his work is being progressively rediscovered and reassessed. It joined very recently the collection of the Centre Pompidou and the Museum of Fine Arts of Rennes.


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