GENERAL DESCRIPTION
Clouds, mist, hints of mountains, and winding rivers suggest the mysterious space of traditional Chinese landscape painting. Sigmar Polke used a story by French writer Marguerite Yourcenar as a starting point for Clouds. In that tale, a Chinese artist created painted worlds that were more beautiful and powerful than reality. His assistant disparaged those who did not value the master's art, saying, "These people are not the kind to lose themselves in a painting." Like the Chinese artist's work, Polke's painted surface, with its swirling colors, powdered pigment blown into wet resin, and scatterings of what may be gold, silver, or even intergalactic dust, exists as an ever-changing magical world.
Excerpt from
Anna Katherine Brodbeck, ed., TWO X TWO X TWENTY: Two Decades Supporting Contemporary Art at the Dallas Museum of Art (Dallas: Dallas Museum of Art), 2018.
NOTES
- Passion for Art, DMA 2003-2004
- Fast Forward, 2005, Archive ID: 11749; TMS ID: 205
- 5/29/18: removed label copy: Sigmar Polke used a story by Belgian-born French writer Marguerite Yourcenar as a starting point for Clouds. In that tale, a Chinese artist created painted worlds that were more beautiful and powerful than reality. Polke's painted surface, with its swirling colors, clouds, mist, hints of mountains, and winding rivers, suggests the space of a mysterious traditional Chinese landscape painting. DMA unpublished material, Label copy, n.d.
- added TWO X TWO publication entry.
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Artist/designers
Cultures
Geography
Process/materials
Historical periods
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RELATED OBJECTS
PROVENANCE
n.d.: Private Collection, Koln [1]
2000: Dallas Museum of Art, purchased through Michael Werner, New York [2]
[1] See Sigmar Polke (Amsterdam: Stedelijk Museum Amsterdam, 1992), 133.
[2] See the copy of the invoice from Michael Werner to the Dallas Museum of Art in the Collections Records object file (2000.388).
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General Description
Clouds, mist, hints of mountains, and winding rivers suggest the mysterious space of traditional Chinese landscape painting. Sigmar Polke used a story by French writer Marguerite Yourcenar as a starting point for Clouds. In that tale, a Chinese artist created painted worlds that were more beautiful and powerful than reality. His assistant disparaged those who did not value the master's art, saying, "These people are not the kind to lose themselves in a painting." Like the Chinese artist's work, Polke's painted surface, with its swirling colors, powdered pigment blown into wet resin, and scatterings of what may be gold, silver, or even intergalactic dust, exists as an ever-changing magical world.
Excerpt from
Anna Katherine Brodbeck, ed., TWO X TWO X TWENTY: Two Decades Supporting Contemporary Art at the Dallas Museum of Art (Dallas: Dallas Museum of Art), 2018.
Fun Facts
Archival Resources
Web Resources
Notes
- Passion for Art, DMA 2003-2004
- Fast Forward, 2005, Archive ID: 11749; TMS ID: 205
- 5/29/18: removed label copy: Sigmar Polke used a story by Belgian-born French writer Marguerite Yourcenar as a starting point for Clouds. In that tale, a Chinese artist created painted worlds that were more beautiful and powerful than reality. Polke's painted surface, with its swirling colors, clouds, mist, hints of mountains, and winding rivers, suggests the space of a mysterious traditional Chinese landscape painting. DMA unpublished material, Label copy, n.d.
- added TWO X TWO publication entry.
Catalogue essays
Artist/designers
Cultures
Geography
Process/materials
Historical periods
Individuals
Subject terms
RELATED OBJECTS
PROVENANCE
n.d.: Private Collection, Koln [1]
2000: Dallas Museum of Art, purchased through Michael Werner, New York [2]
[1] See Sigmar Polke (Amsterdam: Stedelijk Museum Amsterdam, 1992), 133.
[2] See the copy of the invoice from Michael Werner to the Dallas Museum of Art in the Collections Records object file (2000.388).
AUDIO ASSETS
VIDEO ASSETS
rules
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Objects
number
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