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Hans Bellmer

A plate, from Alain Jouffroy, Les Anagrammes du Corps, 1973

Etching
19 7/10 × 14 7/10 in
50 × 37.4 cm
Edition of 100
Bidding closed
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About the work
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signed and numbered from the edition of 100 in pencil, on Arches paper, published by Editions …

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signed and numbered from the edition of 100 in pencil, on Arches paper, published by Editions George Visat, Paris, sheet 500 x 374mm (19 5/8 x 14 3/4in) (framed)

Please Note: This lot is sold subject to Artist's Resale Right, details of which can be found in our Terms and Conditions.

Hans Bellmer
German, 1902–1975
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Hans Bellmer adopted his controversial practice—the creation of provocative, often grotesque sculptures of pubescent female dolls—in the 1930s to rebel against the artistic rules and standards of beauty imposed by the Nazi government. After moving to Berlin in 1923, Bellmer became close with the Dada artists, particularly George Grosz, a politically minded painter who furthered Bellmer’s distrust of government. Fearing that his art would be outlawed by the Nazis as “degenerate”, in 1934 Bellmer sought acceptance abroad with André Breton and the French Surrealists, who embraced his work for its revolutionary nature and libidinous engagement with female youth. In addition to his sculptures, Bellmer produced prints, photographs, and drawings, always dealing with themes of abject sexuality and forbidden desire. Also a writer, he referred to his doll projects as “experimental poetry”.

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About the work
FA
Forum Auctions

signed and numbered from the edition of 100 in pencil, on Arches paper, published by Editions …

Read more

signed and numbered from the edition of 100 in pencil, on Arches paper, published by Editions George Visat, Paris, sheet 500 x 374mm (19 5/8 x 14 3/4in) (framed)

Please Note: This lot is sold subject to Artist's Resale Right, details of which can be found in our Terms and Conditions.

Hans Bellmer
German, 1902–1975
Follow

Hans Bellmer adopted his controversial practice—the creation of provocative, often grotesque sculptures of pubescent female dolls—in the 1930s to rebel against the artistic rules and standards of beauty imposed by the Nazi government. After moving to Berlin in 1923, Bellmer became close with the Dada artists, particularly George Grosz, a politically minded painter who furthered Bellmer’s distrust of government. Fearing that his art would be outlawed by the Nazis as “degenerate”, in 1934 Bellmer sought acceptance abroad with André Breton and the French Surrealists, who embraced his work for its revolutionary nature and libidinous engagement with female youth. In addition to his sculptures, Bellmer produced prints, photographs, and drawings, always dealing with themes of abject sexuality and forbidden desire. Also a writer, he referred to his doll projects as “experimental poetry”.

Hans Bellmer

A plate, from Alain Jouffroy, Les Anagrammes du Corps, 1973

Etching
19 7/10 × 14 7/10 in
50 × 37.4 cm
Edition of 100
Bidding closed
Want to sell a work by this artist? Consign with Artsy.
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