Hans Hartung - T1971-R30 - Offset lithography - Licensed print 2008 - COA

Offset lithography by Hans Hartung (*).
Reproduction of the work “T1971-R30”, made by Hartung in 1971.
Produced on high-weight Vellum paper (220 g).
Edited by Arte-Paris.
Legal print authorized by the Hartung-Bergman Foundation
Signed on the plate by the artist.

Specifications:

Dimensions: 65 x 85 cm
Year: 2008
Condition: Excellent (this work has never been framed or exhibited, and has always been kept in a professional art folder, therefore offered in perfect condition).
Provenance: Private Collection.

The work will be carefully handled and packaged in a reinforced cardboard box. The shipment will be tracked with a tracking number.

The shipment will also include transportation insurance for the final value of the work with full reimbursement in case of loss or damage, at no cost to the buyer.

(*) Hans Hartung is a major German painter who became French, known for his abstract works with black calligraphic strokes on color backgrounds.
Born in Leipzig to a family of physicists. His grandfather was also a self-taught painter and composer. Between 1915 and 1926 he studied classical languages at the Dresden Gymnasium and philosophy and art history at the university and at the Leipzig Academy of Fine Arts. Later he entered the Dresden Academy of Fine Arts.
During the summer of 1926 he bicycled through France, Italy and Spain. In 1931 he first exhibited in Dresden. In 1937, at a joint exhibition at the Jeu de Paume, Paris (France), he met the great Spanish sculptor Julio González, who would have a profound influence on him. González provided all kinds of help and encouraged him to embark on his own artistic path.
During the pre-war period Hartung settled in Paris to avoid the Nazi regime, and exhibited in several galleries. In 1938 he participated in an anti-Nazi exhibition at the New Burlington Gallery in London (Great Britain).
In 1939, he was imprisoned in Spain and subsequently enlisted in the Foreign Legion in North Africa. In 1944 he was seriously injured during the siege of Belfort and lost a leg. After the war he became French and in 1947 had a major solo exhibition in Paris.
From the beginning he kept away from the Bauhaus movement, which he regarded as a passing fashion. His paintings, purely abstract, reflect his view on the representation of reality: free and pure expression should transcend reality. The quick brushwork was a fundamental feature of his working method.
Creativity, according to his own words, required spiritual speed. He received several awards, including the Guggenheim Prize in 1956 and in 1960 the Grand International Prize at the Venice Biennale.