ARTISTS / Art after 1945
Winfred Gaul

Untitled (Gillette 1963)
© Winfred Gaul / VG Bild-Kunst, Bonn

Winfred Gaul

Ohne Titel (Gillette 1963) / Untitled (Gillette 1963), 1963

Collage, colored chalks and silkscreen on bristol board
65 × 50 cm

signed and dated lower right "GAUL '63"; on the reverse signed and dated: "GAUL 63".
(GAULW/M 83)

€ 7.000
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Literature: Winfred Gaul. Works of Pop Art, Galerie Schlichtenmaier, Grafenau / Dätzingen 2016, p. 24

The serigraphy sequence with collaged elements, differentiated with colored chalks, is one of the most subtle Pop Art paintings by Winfred Gaul. The serial character of the print is reminiscent of Andy Warhol's classic prints, but Gaul confronts the models with enigmatic irony: with the (sub)title "Gilette" and the often reproduced image of a man shaving, he presents a traditional brand whose product shaped everyday life like few others - without automatically making one think of art. This was part of Pop Art's concept of success, which also conveyed an image of society that oscillated between market constraints and politicized attitudes. During these years, Winfred Gaul dealt with the American discussion about the death penalty (cf. "Kleines Galgenbild", 1963, Museum Ludwig, Cologne), so that one could also assign the multiplied image with the blindfolded eyes shown here to an execution victim whose smile has frozen into a cynical grin. This would give the shave something threatening, although it appears not infrequently in the 20th century as a symbol of turning points (James Joyce, "Ulysses"; Max Frisch, "Homo Faber" etc.). Gaul could thus also refer to the paradigm shift that he and quite a few of his generational colleagues made in the early 1960s from informal to informative art. The free details of this sheet and others in the series show geometric patterns or even construction site sign motifs, which make it clear that the images were created within the framework of traffic signs and signals.
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