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Lot 3
Philippe Cognée (né en 1957)
New Orleans
Fermé21 September 2022
Prix réalisé
EUR 27,720
Plus d'informations
Philippe Cognée (né en 1957)
New Orleans
signé, titré et daté deux fois 'P. Cognée. 05 ''New Orlean''' (sur le revers et au dos)
encaustique sur toile montée sur panneau
89.3 x 116 cm.
Peint en 2005.
signed titled and dated twice 'P. Cognée. 05 ''New Orlean''' (on the overlap and reverse)
encaustic on canvas mounted on wood
35 1/8 x 45 5/8 in.
Painted in 2005.
New Orleans
signé, titré et daté deux fois 'P. Cognée. 05 ''New Orlean''' (sur le revers et au dos)
encaustique sur toile montée sur panneau
89.3 x 116 cm.
Peint en 2005.
signed titled and dated twice 'P. Cognée. 05 ''New Orlean''' (on the overlap and reverse)
encaustic on canvas mounted on wood
35 1/8 x 45 5/8 in.
Painted in 2005.
Philippe Cognée (né en 1957)
New Orleans
signé, titré et daté deux fois 'P. Cognée. 05 ''New Orlean''' (sur le revers et au dos)
encaustique sur toile montée sur panneau
89.3 x 116 cm.
Peint en 2005.
signed titled and dated twice 'P. Cognée. 05 ''New Orlean''' (on the overlap and reverse)
encaustic on canvas mounted on wood
35 1/8 x 45 5/8 in.
Painted in 2005.
New Orleans
signé, titré et daté deux fois 'P. Cognée. 05 ''New Orlean''' (sur le revers et au dos)
encaustique sur toile montée sur panneau
89.3 x 116 cm.
Peint en 2005.
signed titled and dated twice 'P. Cognée. 05 ''New Orlean''' (on the overlap and reverse)
encaustic on canvas mounted on wood
35 1/8 x 45 5/8 in.
Painted in 2005.
Galerie Daniel Templon, Paris
Acquis auprès de celle-ci en 2005
Acquis auprès de celle-ci en 2005
Travaillant la cire chauffée puis écrasée sur ses toiles, Philippe Cognée interroge le sens de la représentation et de la condition humaine au travers des environnements quotidiens dont il s’inspire – scènes de rues, éléments d’architecture, objets manufacturés, etc. Occupant une place de premier plan dans l’environnement artistique français depuis les années 1990, il s’emploie à redonner à la peinture, à ses yeux trop décriée durant les trois dernières décennies, ses lettres de noblesse. Explorant le floutage grâce à une peinture à l’encaustique faite de cire d’abeille, sa technique est devenue sa signature et a donné naissance à des toiles dont les contours incertains perturbent la lecture : les sujets y sont à la fois familiers et en même temps jamais tout à fait reconnaissables, instaurant un certain trouble chez celui qui les regarde. Ses œuvres sont présentes dans de nombreuses collections publiques parmi lesquelles celles du Musée National d’Art Moderne, du Centre Pompidou ou de la Fondation Cartier pour l’Art Contemporain.
Working on his canvases with heated and then crushed wax, Philippe Cognée questions the meaning of representation and the human condition through everyday environments from which he draws inspiration — street scenes, architectural elements, manufactured objects, etc. Since the 1990s, he has played a leading role on the French art scene, and has been working to restore painting, which he feels has been overly disparaged over the past three decades, to its rightful place. Exploring blurring thanks to an encaustic paint made of beeswax, this technique has become his signature and has given birth to canvases whose uncertain contours disturb the reading: the subjects are both familiar and at the same time never completely recognizable, creating a certain confusion for the viewer. His works are present in numerous public collections, including those of the Musée National d'Art Moderne, the Centre Pompidou and the Fondation Cartier pour l'Art Contemporain.
Working on his canvases with heated and then crushed wax, Philippe Cognée questions the meaning of representation and the human condition through everyday environments from which he draws inspiration — street scenes, architectural elements, manufactured objects, etc. Since the 1990s, he has played a leading role on the French art scene, and has been working to restore painting, which he feels has been overly disparaged over the past three decades, to its rightful place. Exploring blurring thanks to an encaustic paint made of beeswax, this technique has become his signature and has given birth to canvases whose uncertain contours disturb the reading: the subjects are both familiar and at the same time never completely recognizable, creating a certain confusion for the viewer. His works are present in numerous public collections, including those of the Musée National d'Art Moderne, the Centre Pompidou and the Fondation Cartier pour l'Art Contemporain.
Artist's Resale Right ("droit de Suite").
If the Artist's Resale Right Regulations 2006 apply to this lot, the buyer also agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.