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| Image | Sale date | Auction house | Location | Sale name | Lot No. | Estimate | Price Sold | Condition | Title |
|---|---|---|---|---|---|---|---|---|---|
Jun 4, 2019 | Dorotheum | Vienna | Modern Art | 31 | $****** - ****** | Nature morte verre et carafe |
Works on Paper
36 x 27 cm (14.17 x 10.63 in)
watercolor, gouache on thick paper
signed Ozenfant
The artist
Jean Bauret Collection
Galerie Berri-Lardy, Paris –
acquired from the above in 1974
European Private Collection
Pierre Guénégan, Amédée Ozenfant 1886–1966, catalogue raisonné des
œuvres sur papier, London, 2016, no. 1925/OP-008, ill. pp. 82 and 253
signed Ozenfant, watercolor, gouache on thick paper, 36 x 27 cm, framed
Provenance:
The artist
Jean Bauret Collection
Gallery Berri-Lardy, Paris -
acquired from the above in 1974
European Private Collection
Literature:
Pierre Guénégan, Amédée Ozenfant 1886-1966, catalog raisonné des
œuvres sur papier, London, 2016, no. 1925 / OP-008, ill. pp. 82 and 253
This composition is informed by the Purist aesthetic as developed by Amédée Ozenfant and Le Corbusier in 1918. Drawing on pre-1914 Cubism, especially the coolly rational interpretation of Juan Gris, they are dismissed as "creative and unordered". This conviction became a moral imperative that Ozenfant and Le Corbusier attempted to uphold in their work.
Ozenfant uses the following metaphor to describe the function of rational thought: "A lens concentrates the diffuse rays of the sun and creates fire by converging those rays. Ozenfant's. To converge to refine something in nature, as to render it more concentrated, compact, pene-trative, intense: it helps to make the mani-fes- tations of that phenomenon and to render it effective and useful for humanity application of this principle to "Nature morte, verre et carafe" results in a composition that is lucid and geometric. Purism, with its principle of the rational instead of the decorative, stands at the beginning of a new aesthetic to the felt in Functionalism. www.guggenheim.org
