Thomas Schütte (b. 1954)
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Thomas Schütte (b. 1954)

Chinatown

细节
Thomas Schütte (b. 1954)
Chinatown
signed, titled and dated 'Th. Schütte 10.3.89 "Chinatown"' (on the reverse)
watercolour on paper
59 7/8 x 40 1/8in. (152 x 102cm.)
Executed in 1989
来源
Marian Goodman, New York.
Acquired from the above by the present owner in 1990.
出版
Thomas Schütte. Big Buildings - Modelle und Ansichten, exh. cat., Bonn, Kunst - und Ausstellungshalle der Bundesrepublik Deutschland, 2010 (illustrated in colour, p. 154).
注意事项
Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent. VAT rate of 5% is payable on hammer price and at 20% on the buyer's premium.

拍品专文

'I think it was John Berger who once said: Virtually all that has remained from the tangled mass of the 19th century are a few rough sketches. Pathos failed to establish itself. The 20th century successfully erased it until it formulated its own pathos formulas. Consequently, I prefer the sketch because you can just roll up a month's work and pack it under your arm. Not everything has to be cast in lead' (T. Schütte, interview with U. Loock, Thomas Schütte, Cologne 2004, p. 88).



Executed in 1989, Chinatown is a large-scale watercolour that prefigures the artist's seminal Chinatown model installation; part of Schütte's Big Buildings exhibition at the Marian Goodman Gallery in 1989. Large format works on paper have always been fundamental to Schütte's practice, the artist often preferring the flat to the concrete medium. In this aquamarine painting, accented with a series of canary yellow buildings assembled in the foreground, the artist has artfully articulated his vision for the later 1:20 model. As the artist has described, the work on paper takes on a special significance for the artist: 'I think it was John Berger who once said: Virtually all that has remained from the tangled mass of the 19th century are a few rough sketches. Pathos failed to establish itself. The 20th century successfully erased it until it formulated its own pathos formulas. Consequently, I prefer the sketch because you can just roll up a month's work and pack it under your arm. Not everything has to be cast in lead' (T. Schütte interview with U. Loock, Thomas Schütte, Cologne 2004, p. 88).