Top-100 artists:
We use our proprietary AI - LiveArt Estimate™ to calculate current market value for each artwork. Based on this data LiveArt is able to provide numerous insights into artist and artwork financial performance, including:
See the measure of artist investment performance relative to risk. A higher ratio suggests better risk-adjusted returns, indicating more consistent performance with less risk.
Explore the most prolific periods in an artist's career based on artwork production volume and current market value. It also segments these periods by category, offering insights into when the most valuable pieces were created in each category.
Free to sign up. No credit card required.
| Image | Sale date | Auction house | Location | Sale name | Lot No. | Estimate | Price Sold | Condition | Title |
|---|---|---|---|---|---|---|---|---|---|
Jun 5, 2019 | Dorotheum | Vienna | Contemporary Art I | 211 | $****** - ****** | Charans |
paintings
65 x 92 cm (25.59 x 36.22 in)
oil on canvas
signed and dated 70; titled on the reverse
Galleria Il Milione, Milan (label and stamp on the reverse)
European Private Collection
signed and dated 70; titled on the reverse, oil on canvas, 65 x 92 cm, framed
We are grateful to Jean-Marie Cusinberche for the cataloging of this work
Provenance:
Galleria Il Milione, Milan (label and stamp on the reverse)
European Private Collection
Mathieu's pictorial writing is grounded in a certain number of basic signs and would be of
interest to list and define these in an attempt to shed light on this mysterious artist.
These dynamic signs act, either simultaneously or one at a time, as a springboard, launch pad
and trajectory for the development of his works.
Around 1965 the artist began to sense the distinctive qualities of his calligraphy
could represent a risk of excessive automatism.
Clear headed as ever, he therefore decided to neutralize this element, introducing
instead of a system of straight vertical and horizontal lines and static elements in
the form of well-defined areas. These obstacles, which Mathieu had constructed in opposition to his own virtuosity, facilitated the birth of new series [...].
The disciplined restraint that gave birth to several successful works appears
to have a side to the other in an explosive work, in which Mathieu
appears to be freer and more inspired than ever.
Paul Seylaz
