FRANTISEK KUPKA Czech, French, 1871-1957
Untitled (Study for a Pochoir), 1921
Signed Watercolour on Arches Wove Paper
21.1 x 14.6 cm. / 8.3 x 5.7 in.
This is a watercolour by Frantisek Kupka. It is signed in ink by the artist with his monogram “K” at the lower right.
It is also stamp signed “Kupka”, verso
Note: There is a lesser known, but extremely important bridge between the mammoth movements of Cubism and Abstraction – Orphism. In the 1910s, prior to the outbreak of the First World War František Kupka along with Robert and Sonia Delaunay began to focus on deconstructing colour associations. Compositions leant towards biomorphic forms, but Orphic works are largely characterised by their use of bright colours.
Following the War there was a noticeable trend in Pochoir as a printing technique, it ultimately became quite fashionable in the early 1920s, but it arose largely out of necessity due to a scarcity of other printing materials. The technique also lent itself sensitively to the needs of artist’s like Kupka. This overlaying of stencils each of a different colour allowed the artist to be fully hands on with the process. “Untitled” is a wonderful glimpse into Kupka’s working practice as it is the provisional watercolour that was created by the artist on his journey to creating a pochoir it also embodies the bright colours of Orphism.
Provenance:
Collection of Royal S Marks (1927-1987), New York
Dr. Gerhard Cromme, Essen
The authenticity has been kindly verbally confirmed by Pierre Brullé.
Exhibited:
Verschmelzendes Rosa und schwarze Spannung. Werke des osteuropäischen Konstruktivismus aus einer deutschen Privatsammlung. Winterthur, Kunstmuseum, 2001, ill. p. 57.
L’abstraction en Europe. Saint-Paul-de-Vence, Fondation Maeght, 2011, cat. no. 12.
Constructivism in Europe. From Malevich to Kandinsky. Peking, National Art Museum of China, 2012, cat. no. 16, ill. p. 28.
Die Revolution entläßt ihre Bilder. Münster, Kunstmuseum Pablo Picasso, 2014, cat. no. 12.
Condition: Very good condition.
It is also stamp signed “Kupka”, verso
Note: There is a lesser known, but extremely important bridge between the mammoth movements of Cubism and Abstraction – Orphism. In the 1910s, prior to the outbreak of the First World War František Kupka along with Robert and Sonia Delaunay began to focus on deconstructing colour associations. Compositions leant towards biomorphic forms, but Orphic works are largely characterised by their use of bright colours.
Following the War there was a noticeable trend in Pochoir as a printing technique, it ultimately became quite fashionable in the early 1920s, but it arose largely out of necessity due to a scarcity of other printing materials. The technique also lent itself sensitively to the needs of artist’s like Kupka. This overlaying of stencils each of a different colour allowed the artist to be fully hands on with the process. “Untitled” is a wonderful glimpse into Kupka’s working practice as it is the provisional watercolour that was created by the artist on his journey to creating a pochoir it also embodies the bright colours of Orphism.
Provenance:
Collection of Royal S Marks (1927-1987), New York
Dr. Gerhard Cromme, Essen
The authenticity has been kindly verbally confirmed by Pierre Brullé.
Exhibited:
Verschmelzendes Rosa und schwarze Spannung. Werke des osteuropäischen Konstruktivismus aus einer deutschen Privatsammlung. Winterthur, Kunstmuseum, 2001, ill. p. 57.
L’abstraction en Europe. Saint-Paul-de-Vence, Fondation Maeght, 2011, cat. no. 12.
Constructivism in Europe. From Malevich to Kandinsky. Peking, National Art Museum of China, 2012, cat. no. 16, ill. p. 28.
Die Revolution entläßt ihre Bilder. Münster, Kunstmuseum Pablo Picasso, 2014, cat. no. 12.
Condition: Very good condition.
$ 28,000.00
Further images
Provenance
Collection of Royal S Marks (1927-1987), New York The authenticity has been kindly verbally confirmed by Pierre Brullé.2
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