ARTISTS / Art after 1945
Winfred Gaul

© Winfred Gaul / VG Bild-Kunst, Bonn

Winfred Gaul

Ohne Titel / Untitled, 1963

Mixed media, collage with picture frame and loop
95 × 67 cm

signed and dated "Gaul '63" on the reverse
(GAULW/M 96)

€ 16.000
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After his stay in New York in 1962, Winfred Gaul entered a side path within his Pop Art works that showed a clear proximity to Neo-Dada. This included, for example, the "Kleine Galgenbild" (Museum Ludwig, 1963) or this untitled work from the same period. The connection was not surprising, since he found himself confirmed anyway by Andy Warhol, who in turn drew the bow from Pop Art back to Dadaism: "Dada must somehow have a connection to Pop - it's quite funny, because both names are basically synonyms. Does anyone know what they're supposed to mean or what they refer to, these names? Johns and Rauschenberg - all through the years they were said to be Neo-Dada, and everyone thought they were epigonal and incapable of somehow transforming the things they used - are now traded as precursors of Pop art. It's funny how things transform." Gaul's 1963 material collage not only integrates a small picture frame mounted in the picture-the work itself is unframed-as a picture within a picture with a wire loop motif that echoes the gestural-drawing abstraction next to it, as well as cartoon-like and typographic-linguistic as well as semiotic elements and signs: On the left, Gaul suggests a cartoonishly bared set of teeth, whose pink background figures, without any concretizable guarantee, as a monumental head with a hook protruding from the canvas at its front. Loosely drawn arrows on the light areas indicate a vague line of sight from bottom to top. In the centrally collaged sheet with the gestural drawing, a text passage can be read fragmentarily under the blackened surface. It refers to the person of Rochus Spiecker, a publicist, screenwriter and theologian whose motto in life was: "Expose the core without hurting the skin." In terms of color, Gaul unfolds on the canvas a poetic play of pink, black, subtle red and blue tones to a bright orange, which turns the framed picture in the painting into a mysterious, menacingly beautiful landscape in the evening glow.
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