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Hans Bellmer

Liegende in Strümpfen, 1967

Etching
23 4/5 × 16 1/2 in
60.5 × 42 cm
€125
location
Sitges
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About the work
Bibliography
Sylvan Cole Gallery
Sitges
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Scarce exhibition poster with attractive purple typography, INCORPORATING AN ORIGINAL ETCHING BY …

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Scarce exhibition poster with attractive purple typography, INCORPORATING AN ORIGINAL ETCHING BY BELLMER, PRINTED FROM THE ORIGINAL PLATE.

Printed on fine BFK Rives wove paper.

In perfect condition.

Publisher
Wolfgang Ketterer
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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View in room
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view
View in room
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About the work
Bibliography
Sylvan Cole Gallery
Sitges
Follow

Scarce exhibition poster with attractive purple typography, INCORPORATING AN ORIGINAL ETCHING BY …

Read more

Scarce exhibition poster with attractive purple typography, INCORPORATING AN ORIGINAL ETCHING BY BELLMER, PRINTED FROM THE ORIGINAL PLATE.

Printed on fine BFK Rives wove paper.

In perfect condition.

Publisher
Wolfgang Ketterer
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

Liegende in Strümpfen, 1967

Etching
23 4/5 × 16 1/2 in
60.5 × 42 cm
€125
location
Sitges
Have a question? Read our FAQ.
Want to sell a work by this artist? Consign with Artsy.
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Surrealism