Marcus de Vestele (1941-2024) - Deux figures au panneau bleu





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Marcus de Vestele, Deux figures au panneau bleu, ink and wash on paper, 1975, 31.5 × 25 cm, original edition, Cobra style, Belgium.
Description from the seller
Marcus de Vestele (1941-2024)
Two figures on a blue panel
Ink and watercolor on paper, circa 1975
Signature: Not signed on the front.
Studio stamp on the back: “Marcus de Vestele – Atelier de l’artiste”
Dimensions: 31.5 × 25 cm
Sold unframed
Condition: Good overall. Some light signs of age, in keeping with a studio work from the 1970s.
Provenance: Artist’s studio of Marcus de Vestele.
Description
Beautiful Cobra composition by Marcus de Vestele, made around 1975.
Two figures stand within a rudimentary frame, resting on a band of ink like a pedestal. On the left, a tangled, almost floral character occupies a vivid blue panel striped with wash. On the right, a more legible black silhouette: triangular head, circular belly, short legs, bold, immediate line.
The treatment is typically Cobra: spontaneity of gesture, the blue contrasting with black ink, a constant tension between elemental figuration and abstraction. The two figures have an archaic human presence, both naive and monumental.
A graphic, vivid work, characteristic of Cobra production on paper by Marcus de Vestele in the 1970s, directly from the artist’s studio.
Biography
Marcus de Vestele (1941-2024) is a major Belgian artist, best known as a sculptor working in marble (notably in Carrara and with Bardiglio marble).
Alongside his sculptural practice, he developed throughout his life a significant pictorial output, long kept confidential and today sought after by collectors.
Strongly influenced by the Cobra movement (Karel Appel, Asger Jorn, Pierre Alechinsky, Corneille, Constant…), Marcus de Vestele drew inspiration from it to create abstract-figurative compositions of great expressive power.
His paper works from the 1970s are characterized by spontaneous line, free gesture, and a constant tension between figuration and abstraction.
His drawings, washes and gouaches combine the discipline of the sculptor with Cobra’s lyric and gestural explosion. Directly from the studio, this paper-based production constitutes an essential and singular facet of his oeuvre, occupying a unique place in Belgian art of the second half of the 20th century.
Seller's Story
Marcus de Vestele (1941-2024)
Two figures on a blue panel
Ink and watercolor on paper, circa 1975
Signature: Not signed on the front.
Studio stamp on the back: “Marcus de Vestele – Atelier de l’artiste”
Dimensions: 31.5 × 25 cm
Sold unframed
Condition: Good overall. Some light signs of age, in keeping with a studio work from the 1970s.
Provenance: Artist’s studio of Marcus de Vestele.
Description
Beautiful Cobra composition by Marcus de Vestele, made around 1975.
Two figures stand within a rudimentary frame, resting on a band of ink like a pedestal. On the left, a tangled, almost floral character occupies a vivid blue panel striped with wash. On the right, a more legible black silhouette: triangular head, circular belly, short legs, bold, immediate line.
The treatment is typically Cobra: spontaneity of gesture, the blue contrasting with black ink, a constant tension between elemental figuration and abstraction. The two figures have an archaic human presence, both naive and monumental.
A graphic, vivid work, characteristic of Cobra production on paper by Marcus de Vestele in the 1970s, directly from the artist’s studio.
Biography
Marcus de Vestele (1941-2024) is a major Belgian artist, best known as a sculptor working in marble (notably in Carrara and with Bardiglio marble).
Alongside his sculptural practice, he developed throughout his life a significant pictorial output, long kept confidential and today sought after by collectors.
Strongly influenced by the Cobra movement (Karel Appel, Asger Jorn, Pierre Alechinsky, Corneille, Constant…), Marcus de Vestele drew inspiration from it to create abstract-figurative compositions of great expressive power.
His paper works from the 1970s are characterized by spontaneous line, free gesture, and a constant tension between figuration and abstraction.
His drawings, washes and gouaches combine the discipline of the sculptor with Cobra’s lyric and gestural explosion. Directly from the studio, this paper-based production constitutes an essential and singular facet of his oeuvre, occupying a unique place in Belgian art of the second half of the 20th century.

