Wojciech Fangor ”B 50”. 1965

Oil on canvas. 60 × 60 cm (23 ⅝ × 23 ⅝ in.). Signed, titled and dated on the reverse in black brush: FANGOR B 50 1965. A label from Galerie Springer, Berlin, affixed to the stretcher. The work is listed in the artist’s online catalogue raisonné under no. P. 459.. [3011] Framed, Oil on canvas. 60 × 60 cm (23 ⅝ × 23 ⅝ in.). Signed, titled and dated on the reverse in black brush: FANGOR B 50 1965. A label from Galerie Springer, Berlin, affixed to the stretcher. The work is listed in the artist’s online catalogue raisonné under no. P. 459.. [3011] Framed, Galerie Springer, Berlin (1965) / Private Collection, Berlin (since the mid-1960s), Galerie Springer, Berlin (1965) / Private Collection, Berlin (since the mid-1960s), Wojciech Fangor’s paintings fundamentally challenge traditional notions of pictorial space. In his monumental, seemingly “borderless” abstractions, space does not unfold behind the picture plane but emerges as a dynamic field between the canvas and the viewer. „B 50“, painted in 1965, is a striking example of his characteristic exploration of perception, colour and space. Born in Warsaw in 1922, Fangor developed a radically new visual language following his early figurative works and his engagement with poster art. Clearly defined contours gave way to blurred circles, ellipses and fields of colour that seem to detach themselves from the canvas. Fangor attracted international attention through his participation in „Fifteen Polish Painters“ at the Museum of Modern Art in New York in 1961 and the landmark exhibition „The Responsive Eye“ in 1965. „B 50“ was created that same year, in connection with an exhibition at Galerie Springer in Berlin. In 1970, the Solomon R. Guggenheim Museum in New York dedicated a solo exhibition to the artist. Fangor’s visual language was shaped in part by his fascination with the cosmos, perception and the scientific and technological upheavals of his time. The space race of the 1950s and 1960s profoundly transformed ideas about space and the Earth. Fangor’s floating circles and spheres of colour evoke celestial bodies without depicting them directly. Instead, they translate the experience of spatial uncertainty into a distinctive visual language. At the same time, a central concern of his painting was how perception itself could become the subject of art. The fields of colour, with their soft transitions, resist a fixed focus: as the viewer attempts to grasp the forms, contours and colours seem to shift and dissolve. Fangor described this phenomenon as “Positive Illusory Space” (P.I.S.). Unlike traditional perspective, in which the depicted space lies behind the picture plane, the spatial illusion in his paintings extends outwards into the real space in front of the canvas. The painting’s true dynamism thus emerges in the space between image and viewer, where the eye meets the work. The carefully balanced intensity of colour in Fangor’s compositions makes it difficult to distinguish definitively between form and ground. The transitional zones between the fields of colour develop an energy of their own, making the image appear both flat and spatial. In „B 50“, deep violet gives way to luminous turquoise and finally to a quiet white. The composition feels at once present and elusive, static and in motion. Of particular appeal is the fact that the painting has remained in the same private collection since the late 1960s and is now appearing on the market for the first time in decades. Even today, „B 50“ retains its ability to challenge the viewer’s gaze and redefine the boundaries between image, space and perception. IS

Utropspris:SEK 1,095,229.1

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