Les sables rougissant André Lanskoy

• An exceptionally expressive painting from 1962, dating from André Lanskoy’s artistic heyday • A fireworks display of luminous colours, brimming with thrilling dynamism and masterful compositional sophistication • In private hands since its creation, offered on the international art market for the first time There are paintings one simply looks at, and those one experiences directly. This work by André Lanskoy, dating from 1963, undoubtedly belongs to the latter category. Vibrant red dominates the canvas, interwoven with shades of orange and yellow, as well as surprising accents of turquoise, blue and delicate pink. Colours overlap and interpenetrate one another, whilst sweeping lines unite the forms into a pulsating whole. The composition appears to be in motion, carried by a lively rhythm and remarkable inner harmony. For Lanskoy, colour is far more than a creative medium. It is an expression of life, sensation and movement. He himself sums up his artistic approach as follows: "Je fais du non-figuratif d’après la nature, ou plutôt d’après la vie et toujours en accord avec la vie." (Faupin & Boulanger, 2011, note 95; ‘I paint non-figuratively from nature, or rather from life, and always in harmony with life.’) This is where the power of his painting lies: it needs no representational depiction to move the viewer directly. Born in Moscow in 1902, Lanskoy arrived in Paris in 1921, where he found his artistic home. The colourfulness of Vincent van Gogh, the freedom of Henri Matisse and the expressive style of Chaïm Soutine shaped his early years. From this, he developed an independent visual language in which colour takes centre stage. At that time, Paris was a centre of modernism. Artists from a wide variety of backgrounds sought new means of expression here and shaped the École de Paris, to which Lanskoy also belonged. He formed a close friendship with Nicolas de Staël, whom he met in 1944. Both developed distinctive approaches within post-war European abstraction. Together with artists such as Hans Hartung, Pierre Soulages and Georges Mathieu, they championed a style of painting that placed freedom and individual artistic signature at its heart. Lanskoy is regarded as one of the leading exponents of Lyrical Abstraction, a movement characterised by spontaneous gestures, vibrant colour harmonies and emotional immediacy. Closely related is Tachism, a movement within Informal Art that emphasises free use of colour and expressive brushstrokes. Lanskoy combines this gestural freedom with a keen sense of rhythm and compositional order. By the time this painting was created, Lanskoy had long enjoyed international recognition. His participation in the ‘Younger European Painters’ exhibition at the Guggenheim Museum in New York (1953), his solo exhibition at Fine Arts Associates in New York (1956) and his participation in documenta II in Kassel (1959) underscore his standing within post-war European abstraction. His works are held in major museum collections, including the Museum of Modern Art (MoMA) in New York, the Centre Pompidou and the Musée d’Art Moderne de Paris. The year 2026, marking the 50th anniversary of André Lanskoy’s death, provides an opportunity to re-evaluate his significant body of work. | 1902 Moskau - Paris 1976 | Moderne Kunst | Gemälde | Nummer: 26x2172 | Provenance: Sammlung H. Stoffel, Heerbrugg; Erker-Galerie, St.Gallen; Privatsammlung, Schweiz, 1963 bei Vorgenannter erworben, durch Erbfolge an den jetzigen Besitzer.

Schätzpreis:12.000€

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