Kunstauktionshaus Leipzig | Schütte Kunstauktionen GmbH

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Gohliser Str. 19

Leipzig

04155

Germany

Apr 05, 2025 02:00 PM CEST

Mar 25, 2025 09:30 AM - 05:00 PM CET

Mar 26, 2025 09:30 AM - 05:00 PM CET

Mar 27, 2025 09:30 AM - 05:00 PM CET

Mar 28, 2025 09:30 AM - 05:00 PM CET

Mar 29, 2025 10:00 AM - 02:00 PM CET

Apr 01, 2025 09:30 AM - 05:00 PM CEST

Apr 02, 2025 09:30 AM - 05:00 PM CEST

Auction currency	EUR
Buyer's premium	32 %
Online commission	5.95 %

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MAIK WOLF (born 1964 Pirna, works in Berlin) Red sky (1st teaching of the exterior) , 2007 Oil on canvas, 180 x 240 cm, signed and dated on the reverse. Wolf was born in Pirna, Saxony, in 1964. From 1987 to 1990, he studied at the University of Art and Design in Halle, where he focused intensively on painting. After the political change in Germany, he moved to Paris to continue his artistic education at the renowned École Nationale Supérieure des Beaux-Arts. He studied there from 1991 to 1994 and received a DAAD scholarship, which gave him this opportunity. Maik Wolf is an important representative of Neo-Expressionism and has presented his works in numerous international exhibitions. His notable exhibitions include his participation in the exhibition "Wild Heart: Art Exhibition of German Neo-Expressionism Since the 1960s" at the China Art Museum in Shanghai and "Exterritory 2" at the Michael Schultz Gallery in Seoul, South Korea. His works are characterized by an intensive exploration of dream worlds and nightmarish scenarios, as could be seen in the exhibition "Nightmare" at the UGM Maribor Art Gallery in Slovenia. Other important presentations have taken place at Galerie Hartwich on the island of Rügen and at alexander ochs projects in Berlin. Maik Wolf now lives and works as a freelance artist. His works are part of important collections and exhibitions that underline his artistic versatility and international influence. The painting "Roter Himmel (1. Lehre des Äußeren)" shows an atmospherically dense scene in which architecture and urban elements merge together in an impressive way. The foreground is dominated by a modern, light-flooded villa with large transparent glass fronts, revealing a stylish, minimalist interior. The terrace and the paved ground in front of it are decorated in warm, purple and pink tones, which contrast with the cool clarity of the architecture. A nocturnal city backdrop stretches out in the background, which is given an almost surreal effect by the deep red to yellowish glow of the sky. The light sources - including a street lamp and illuminated billboards - reinforce the tension between urban bustle and the quiet elegance of the building. The diagonal in the middle presents the viewer with a contrasting contrast in terms of content that seems almost uncomfortable. The openness of a deserted living space contrasts with the openness of the bus stop opposite. Here, the public is juxtaposed with the private: A transitive place, where people spend only a few moments of their lives, is contrasted with the permanent, fixed place of refuge and security. How much distance do you need in between? The artist explores this question in the painting. The precise painting technique and the intense color palette lend the work a timeless, almost cinematic quality.

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300 EUR

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1,500 EUR

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HEINZ ZANDER (1939 Wolfen - 2024 Leipzig) Grete and the gardener , 1988 Oil on canvas, 78 x 58 cm, framed, monogrammed and dated (19)88 lower left. Provenance: Private property, Saxony Heinz Zander studied from 1959 to 1964 at the Academy of Visual Arts Leipzig under Bernhard Heisig. He then worked as a freelancer in Leipzig. From 1967 to 1970 he was a master student of Fritz Cremer at the Akademie der Künste Berlin. He died last year in Leipzig at the age of 84. Zander possessed an enormous creative drive, even in old age, through illness and hospital stays, he produced art to the extent that his constitution allowed him. Influenced by the Leipzig School, he found his individual style very early on and became a formidable and exceptional artist. His broad knowledge of and interest in numerous artistic, historical and scientific disciplines inspired his work, his imagination as unbridled as it was intoxicating. While Zander's paintings are executed in old-masterly techniques and are based on models of Italian Mannerism, the whimsical depictions, figures and colors are at the same time inherently modern. The fairytale-like mixes with the threatening, the vital with the morbid. The seductive is always close to the repulsive. Thus the beautiful appearance is permeated by a cruel truth, the fictional depictions are reminiscent of the abysses of reality. In the present work, Zander demonstrates his skill as a master of color design and fine lines. The painting captivates with its neo-Mannerist style. The orange tones typical of Zander are contrasted by the dark blue of the cloth draped around the female nude in the center of the picture. The abundance of painterly detail that is so characteristic of him can also be heard throughout. The lady comes from his female figures, she presents herself as beautiful as she is unapproachable. As often as beauty and eroticism appear in Zander's work, so often are they contrasted with transience and decay. "The graceful and the demonic keep Zander's universe in motion as opponents." (Leps, Ingrid: The Leipzig artist Heinz Zander is a master of confusion, LVZ 30.9.2019). Bizarre figures and characters, grotesque, grimacing creatures populate Zander's paintings. His wealth of imaginative power is particularly evident in the creature nestling against the lady's side. One of her hands rests on this mythical creature, the other on the shoulder of the gardener, whose calves and feet are replaced by tree stumps and roots. Although the mythical creature and the gardener are depicted as protectors, they are transformed into subordinates in the presence of the lady - an impression evoked on the one hand by her height and on the other by her strong presence: She gazes at the viewers from completely cool eyes, her facial expression intense but impassive. "Zander has created many fantastic ideal portraits of women, highly accomplished, full of grace, beauty and sensual promise. [...] Goddesses, as overwhelmingly attractive and seductive as they are occasionally shady, dominant and dangerous, then again doll-like and vulnerable, a subtle mixture of femme fragile and femme fatale that inhabits this paradise. With provocative looks and terribly promising bodies, naked or wrapped in old, precious garments, sometimes worn out by constant use, they play their dark game uninhibitedly. As nymphs, witches, hetaerae or odalisques, who are joined by the goddesses of Olympus and all manner of other mysterious beauties, lustful drudges and seductresses, they are the real protagonists in this world theater in which the heroes unexpectedly become victims and the 'terribly beautiful woman' triumphs. The incarnations of this power are innumerable." (Lindner, Gerd (ed.): Heinz Zander. Wanderungen auf vergessenen Wegen, Bad Frankenhausen 2016, p. 113). Zander generally tends to make his paintings difficult to interpret. The content and title of the painting are particularly difficult to interpret in the present work; the title may point in one direction, but without lifting the veil of mystery. "Zander's pictures are intended as signals for the viewer not to question them primarily in terms of what they depict, but to perceive them as language, to understand them as semiotically organized. Just as the pictorial work of his teacher Bernhard Heisig reveals a working out of the schema of depiction and the depicted - 'imaginary' and 'real order' - that prepares for an understanding of signification, so - in a completely different way - the writing of the pictures or the language of signs in Zander's work represent D

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