Zdzislaw Beksinski (1929 Sanok, Polen - 2005 Warschau) - photo 1
Zdzislaw Beksinski (1929 Sanok, Polen - 2005 Warschau) - photo 2
Zdzislaw Beksinski (1929 Sanok, Polen - 2005 Warschau) - photo 3

Zdzislaw Beksinski (1929 Sanok, Polen - 2005 Warschau)

Lot 52
26.11.2022 13:00UTC +01:00
Classic
Starting price
€ 75 000
AuctioneerWETTMANN | Auktionshaus an der Ruhr
Event locationGermany, Mülheim an der Ruhr
Buyer Premium30%
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The auction is completed. No bids can be placed anymore.
Archive
ID 847275
Lot 52 | Zdzislaw Beksinski (1929 Sanok, Polen - 2005 Warschau)
Estimate value
€ 75 000
Zdzislaw Beksinski (1929 Sanok, Polen - 2005 Warschau)
Ohne Titel, Öl auf Hartfaserplatte, 122,5 cm x 98 cm, verso signiert, 1970 datiert, gestempelt, 02 III 15/6/90/201 nummeriert, partiell retuschiert, partiell leicht fleckig, Abrieb am Rahmenbereich, partiell leichte oberflächliche Kratzer, rechts unten s-förmiger Eindruck in der Farbe (vermutlich im Trocknungsprozess entstanden).

Der Totenzug von Zladislaw Beksinski, ist mit dem Jahr 1970 datiert und bewegt sich somit nicht nur in der selben Schaffensperiode, wie unser bereits versteigertes Werk, sondern stammt sogar aus dem selben Jahr. Das Gemälde des Künstlers ist von orangeroter Farbe dominiert. Das Feuer der Unterwelt, das wohl ringsum lodert bestimmt das gesamte Werk. Eben dieses scheint in den weit aufgerissenen Augen der vordersten und deutlich zu erkennende Figur zu leuchten. Der Totenzug wird von einer Walküre angeführt. Einem weiblichen menschenähnlichen Geisteswesen. Eine jener Jungfern, die aus der nordischen Mythologie aus dem Gefolge des Göttervaters Odin stammen und als seine Töchter bekannt sind. Sie haben Fähigkeiten über die Schicksalsfügung zu bestimmen und wählen auf dem Schlachtfeld verstorbene ehrenvoll Gefallene aus, um sie nach Walhall - den letzten Ruheort - zu führen. Wenn sie also den Zug anführt, scheinen die verstorbenen, unidentifizierbaren menschlichen Hüllen doch ehrenhafte Personen gewesen zu sein? So wird ein Leichnam bereits mit der separierten leuchtenden Seele voran in das Himmelreich empor gehoben. Während alle anderen Figuren der Walküre folgen. Wie in einer Prozession schreiten die Figuren voran. Doch wird hier nicht nur eine Heiligenfigur, sondern die Kirche selbst auf den Schultern getragen. Das Haus Gottes ist hier als Kubus geformt und wird mit Jesus Christus am Kreuze vorangetragen und fest umklammert. Es scheinen weitere abstrahierte auf den Schultern getragene Bauwerke zu folgen. So ist gerade noch ein Maya-Tempel, der wohl die alten spirituellen und hohen Kulturen symbolisieren könnte, zu erkennen. Der Rest des Zuges verschwindet in der Entfernung. Auch in diesem Werk entstehen beim Betrachter Fragen, die Beksinski kritisch in seiner unverwechselbaren Formensprache provoziert. Werden hier die Institutionen und heiligen Stätte zur letzten Ruhe gebracht? Sind sie zu erkennen, weil sich die Personen wegen ihnen und ihrem Glauben in die Schlacht begaben und ehrenvoll verstarben? Wie wird ein ehrenvolles Leben entschieden? Wieder einmal lässt der Künstler uns mit Fragen zurück und zwingt uns, sich mit solchen Fragen auseinander zu setzen. Wieder einmal sind es Fragen rund um das Leben, den Tod, die Unterwelt und das Himmelreich - es sind Glaubensfragen, die er in seiner künstlerisch dramatischen und morbiden Art in seinem Gemälde aufbringt.




Zdzislaw Beksinski (1929 Sanok, Poland - 2005 Warsaw)
Untitled, oil on hardboard, 122,5 cm x 98 cm, verso signed, dated 1970, stamped, numbered 02 III 15/6/90/201, partly retouched, partly slightly stained, abrasion at frame area, partly slight superficial scratches, s-shaped impression in the paint on the lower right (probably caused by the drying process).

The Procession of the Dead by Zladislaw Beksinski is dated 1970 and thus not only belongs to the same creative period as our work already sold at auction, but even dates from the same year. The artist's painting is dominated by orange-red colour. The fire of the underworld, which probably blazes all around, determines the entire work. It is precisely this that seems to glow in the wide-open eyes of the foremost and clearly recognisable figure. The procession of the dead is led by a Valkyrie. A female human-like spiritual being. One of those maidens who come from the retinue of Odin, the father of the gods, in Norse mythology and are known as his daughters. They have abilities to determine fate and choose honourable fallen who have died on the battlefield to lead them to Valhalla - the final resting place. So when she leads the procession, the deceased, unidentifiable human shells seem to have been honourable persons after all? Thus, a corpse is already lifted up into the kingdom of heaven with its separated luminous soul in front. While all the other figures follow the Valkyrie. The figures advance like in a procession. But here it is not only a holy figure that is carried on the shoulders, but the church itself. The House of God is formed here as a cube and is carried forward with Jesus Christ on the cross and firmly clasped. Other abstracted buildings carried on the shoulders seem to follow. A Mayan temple, which could probably symbolise the ancient spiritual and high cultures, can just be made out. The rest of the train disappears into the distance. In this work, too, questions arise in the viewer's mind, which Beksinski provokes critically in his unmistakable formal language. Are the institutions and sacred sites being brought to their final rest here? Are they recognisable because the individuals went into battle and died honourably because of them and their faith? How is an honourable life decided? Once again, the artist leaves us with questions and forces us to grapple with such questions. Once again, they are questions about life, death, the underworld and the kingdom of heaven - they are questions of faith that he brings up in his painting in his artistically dramatic and morbid way.

Address of auction WETTMANN | Auktionshaus an der Ruhr
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