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Sin-Derella, 1969 – Allen Jones
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À propos de l'objet

Allen Jones\nSin-Derella\n1969\noil on canvas\n213.4 x 183 cm (84 x 72 in.)\nSigned, titled and dated 'Allen Jones: 69 "SINDERELLA"' on the overlap.
GB
GB
GB

year

1969

notes

‘My subject matter is basically the human condition and identity – things that deal with that in a schematic way appeal to me … It is about human interaction – and, I suppose, about sex in a funny way – but really it is an attempt to make a personification of the human condition.’- ALLEN JONES, 2014Allen Jones’s unique fusion of eroticism, rhythm and sumptuous colour finds fantastic expression in Sin-Derella, a work whose sophisticated use of pun and metonym moves beyond the figurative to a shapely dance of music and sexuality. Steeped in theory but taking the street as his theatre, Jones looked to develop a unique language through which he could create his idealised figures. The stylised bodies of both men and women employ and exaggerate clichés as a way to arouse an emotional response in the viewer. While his work has earned adoration from fellow artists and viewers alike, he has also caused outcry through his seeming sexual objectification of women, most infamously in his chairs, hatstands and other pieces of furniture comprised of realistic life-size female forms. He avers that ‘The artist cannot worry about how someone might misconstrue the work. When you’re doing the work, your duty is to make the image within the language that the artistic frame of reference you are pursuing. If someone doesn’t like it, that’s tough.’ (Nicholas Wroe, ‘Allen Jones: “I think of myself as a feminist,”’ The Guardian, 31 October 2014).Jones has always been fascinated by the ‘amount of fakery and construction that goes into making something that looks normal,’ whether sexual, commercial or personal. His central London location, he says, provides endless opportunities ‘to watch a huge range of humanity from which some will just pop out of the crowd at you. It’s not because they are conventionally attractive or tall or blond, it is that they have made some effort to present themselves.’ (Nicholas Wroe, ‘Allen Jones: “I think of myself as a feminist,”’ The Guardian, 31 October 2014). Sin-Derella itself 'pops out' in a composition of colour and rhythm. The theatrical motion of the entwined and fragmented couple lit in a spotlight, tangled and fused into one, creates a gentle sensuality that radiates from the canvas - but their incomplete exposure amidst curtain-like darkness hints at the furtive gaze of voyeurism. A single form hovers like a belt above their doubled shape, suggestive of worship displaced from saints' haloes to waist height. The soft intimacy that exists between the two figures is juxtaposed against deeply saturated carnal hues of crimson, chartreuse, aureolin and cobalt. Jones' dynamic use of hue and line ignites suggestive movement, intensifying the viewer's pleasure and bringing the pageant of the artist's mind to darkly opulent fruition.

title

Sin-Derella

medium

Oil on canvas

signed

Signed, titled and dated 'Allen Jones: 69 "SINDERELLA"' on the overlap.

creator

Allen Jones

condition

The canvas and stretcher are in good condition; the canvas is supported by an eight-member, keyable wooden stretcher. There are stretcher bar impressions throughout, most notably across the two central horizontal members with associated cracking, general cracking of the paint film throughout, most notably, though not exclusively to, the lower two thirds of the painting and a small area of retouching to the lower right edge. Otherwise, there are no apparent condition issues with this work.

exhibited

New York, Richard Feigen Gallery, 1970Zurich, Galerie Bruno Bischofberger, mid-1970'sLondon, Royal Academy of Arts, Allen Jones, 13 November 2014 — 25 January 2015

dimensions

213.4 x 183 cm (84 x 72 in.)

literature

A. Jones, Allen Jones: Figures, Berlin, Galerie Mikro, 1969, p. 67 (illustrated)M. Livingstone, Allen Jones: Sheer Magic, New York, 1979, p. 101 (illustrated)exh. cat., Allen Jones, London, Royal Academy of Arts, 2015, p. 64 (illustrated)

provenance

Richard Feigen Gallery, New YorkRobert Fraser Gallery, LondonPrivate Collection


*Merci de noter que le prix n'est pas recalculé à la valeur actuelle, mais se rapporte au prix final réel au moment où l'objet a été vendu.

*Merci de noter que le prix n'est pas recalculé à la valeur actuelle, mais se rapporte au prix final réel au moment où l'objet a été vendu.


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