acrylic on canvas 170 x 170 cm verso signed and dated: Sykora 2004 further verso exhibition label Wannieck Gallery Provenance: – Wannieck Gallery, Brno – Richard Adam Gallery Exhibited: – Sykora 2004, Zdenek Sklenar Gallery, Prague 2005 (catalogue) – Sykora 90, Gallery of the City of Prague, 2010 (catalogue, publicated in the list of exhibited works on p. 107) Publicated: – Sykorova, Lenka (ed.), Zdenek Sykora – Interviews, Gallery, Prague 2009, p. 217, reproduced in a photo from the Zdenek Sykora 2004 exhibition at the Zdenek Sklenar Gallery in Prague in 2005 – Sykora 2004, Zdenek Sklenar Gallery, Prague 2005 (full-page reproduction, unpaged) Consulted by Lenka Sykorova, the copyright holder of the painter. Authenticity certificate enclosed
Zdeněk Sýkora (1920 Louny 2011) The Lines Album Neuenburg, éditions média, 1980 2 farbige Serigraphien und Titelblatt auf festen Velin / 2 coloured serigraphs and title page on firm wove paper 1980 Jeweils 69,7x68,7 cm / 69.7x68.7 cm each Signatur / Signature Jeweils rückseitig auf Etikett vom Künstler in Kugelschreiber signiert, datiert und nummeriert "29/60" Each signed, dated and numbered "29/60" in biros by the artist on the label on the reverse Zustand / Condition Stellenweise etwas berieben. Obere rechte Ecke mit Knick Slightly rubbed in places. Upper right corner with crease Konvolut / Group lot Zus. 3 Blatt Together: 3 sheets Erläuterungen / Comments Ein Blatt fehlt. One sheet is missing. Erwartete Ausrufzeit / Estimated Auction Time of Lot (+/- 30min) 12.09.2024; 17:05 h (MEST / CET) For further information visit our website (www.kornfeld.ch) Versandkosten / Shipping cost Schweiz / Switzerland: CHF 145.- Europa / Europe: CHF 255.- Übrige Länder / Other countries: CHF 330.-
Zdenek Sykora 1920–2011 100 lignes, 1995 Mappenwerk mit 3 Serigrafien je unten rechts signiert und datiert Sykora 95 je unten links nummeriert 29/80 70 x 70 cm (Blatt) (3)
Signed, dated and titled 'Zdenek Sýkora Schrecke [sic] Struktur. 1967' verso on stretcher. The present work is registered in the Archiv Lenka Sýkorová und Zdeněk Sýkora, Louny.
album of 8 serigraphs (7x no. 56/60 and 1x no. 56/80), each serigraph signed, dated and inscribed by the author lower, 220 x 38.5 cm, Graphic works created on the basis of eight original designs by Zdenek Sykora for the mosaic decoration of four ventilation chimneys of the Letensky tunnel in Prague, 1967. Realisation of the mosaic 1967–1969. The graphic print Black and White Structure was created from the design of mosaic No.7 (published first) in an edition of 60 prints and XXV author's prints. The other graphic works based on the patterns 1–6 and 8 were always published in an edition of 80 prints and X author's prints. This complete album is a rarity, as not all issues can be completed. Publicated: – Zdenek Sykora 97 – Graphic Letters 1993–2011 from the Zdenek Sklenar Gallery Edition, Zdenek Sklenar Gallery, Prague, 2017 Consulted by Mrs. Lenka Sykorova, the copyright holder of the painter. Further consulted with Dr Irena Zantovska Murray HonFRIBA, Professor Jaromir Zemina, Dr Jiri Machalicky and Vladimir Lekes. Authenticity certificate enclosed.
double-sided painting, oil on canvas, 85.5 x 96.5 cm, signed and dated lower right: Sykora 53 Consulted by Mrs. Lenka Sykorova, the copyright holder of the painter. Further consulted with Dr Irena Zantovska Murray HonFRIBA, Professor Jaromir Zemina, Dr Jiri Machalicky and Vladimir Lekes. Authenticity certificate enclosed.
Rot-grüne Struktur. 1968. Farbserigrafie eines computergenerierten Motivs auf Papier. Verso auf einem Etikett signiert und nummeriert: Sýkora, 88/140. Blattmaß: 70 x 70 cm. Unter Glas gerahmt: 77 x 77 cm. Zustand: Partiell Randmängel, rechts unten Bereibung, sonst in gutem Zustand.
Zdenek Sykora 1920 Louny - 2011 Louny - Black and white structure - Serigrafie/Karton. 9/100. 60 x 60 cm. Rückseitig auf Papieretikett sign. und dat.: Sykora / (19)71. Daneben mit der Auflagennummerierung. Das Blatt liegt lose. Ränder leicht gebräunt und teils leicht wasserfleckig. Die Arbeit erschien als Jahresgabe des Kunstvereins Hannover.
Zdeněk Sýkora, "Linien Nr. 63", signierte Farbserigraphie von 1995, gerahmt Zdeněk Sýkora, 1920 Louny- 2011 ebd., tschechischer Maler u. Bildhauer, "Linien Nr. 63", Farbserigraphie, signiert u. dat., num. 21/100, 59,5 x 59,5 cm, hinter P.p. und Glas gerahmt Sýkora malte seit 1940 und hatte um 1960 den Weg zur konstruktivistischen oder Konkreten Kunst gefunden. Er war ab 1966 Professor für Malerei an der Karls-Universität Prag. Zdeněk Sýkora, "Lines No. 63", signed colour serigraph from 1995, framed Zdeněk Sýkora, 1920 Louny- 2011 ibid, Czech painter a. sculptor, "Lines No. 63", colour serigraph, signed a. dat, numbered 21/100, 59.5 x 59.5 cm, framed behind passepartout and glass Sýkora had been painting since 1940 and had found his way to constructivist or concrete art around 1960. He was professor of painting at the Charles University in Prague from 1966.
Two iconic serigraphs on paper (Munken Polar 400g/m2), 8/60, run of 60 pieces. Signed and dated lower right "Sýkora 2011". Published in the book “Zdeněk Sýkora 97”, authors: P. Volf, L. Sýkorová, Z. Sklenář 2017, p. 71, 73, 111, 113, 115. Framed under glass (polycarbonate). Technique: serigraphy on paper. Czech artist.
Zdeněk Sýkora was a Czech painter whose works are represented in many important collections of modern world art. He is one of the world pioneers in the use of computer technology in the preparation of a work of art. The combination of artwork and computers had many opponents in its early days (in the 1960s), mainly due to the belief that the computer could suppress human sensitivity. However, for Sýkora, the use of artificial intelligence was an opportunity to re-examine the properties of basic artistic means, such as color and shape. Numbered 15/50. Technique: serigraphy, paper, Signed: sign. lower right: Z. Sýkora 70
Signed and dated 'Sýkora 2005' verso on canvas. Signed, dated and titled 'ZDENĚK SÝKORA: LINIE č. 235, 2005' and with information on material and dimensions on the stretcher. The present work is registered in the Archiv Lenka Sýkorová und Zdeněk Sýkora, Louny. Like probably no other representative of Concrete Art, Zdeněk Sýkora managed to breathe individuality and poetry into his paintings, which were created using an innovative computer-assisted and random-based technique. From 2004 onwards, the artist reduced the presence of lines and their colours to a minimum in many of his works. Like hand-writing exercises seen under a magnifying glass, “Linien Nr. 235” appears to sweep gracefully across the picture surface in various stroke widths forming waves and loops. At a first brief glance they appear black, closer inspection, however, reveals the use of greens and a very dark brown. Despite its size, the work has an intimate character and develops a contemplative effect. Involuntarily, the gaze follows the gentle ups and downs of the individual lines. “Sýkora’s lines appear […] elegant and light at first sight, their background is an unsullied white surface, seemingly prepared to receive the line without resistance. However, these lines do not reveal the hard, yet intellectual work that is rooted in their differentiated systematics. The calculated course of the lines is in stark contrast to the freedom of its effect,” Rouven Lotz states (in: Zdeněk Sýkora, System und Kraft der Linie, exhib.cat. Emil Schumacher Museum Hagen 2015/16, p.23). “Linien Nr. 235“ was obviously of particular significance for the artist as the painting hung in his private home in the Czech town of Louny (see illus.).
Jedna Linie Farb. Siebdruck. 1980. 70 x 70 cm. Signiert, datiert und nummeriert. (32) Exemplar 51/60. - Druck in Rot, Blau und Schwarz auf Siebdruckkarton. - Rückseitig mit einem Titelschildchen der Messe(?) "Interkontakt Grafik Praha `95". - In der Druckoberfläche makellos erhalten; im äußersten Rand kaum merklich gebräunt.
Zdenek SYKORA (1920-2011), Linie (1995), Farbseriegraphie, u.re. sign. und dat. sowie num., Expl. 30/44, Druckmaße: ca. 90 x 90 cm, hinter Glas im Passepartout gerahmt, guter Zustand.
Zdenek SYKORA (1920-2011), ''TRI FÁZE'' (1997), 3 Farbserigraphien, je u.re. sign. und dat. sowie num., Expl. 34/40, Maße: ca. 70 x 70 cm, hinter Glas gerahmt, guter Zustand.
Zdenek Sykora 1920 Louny - 2011 Louny - Black and white structure - Serigrafie/Karton. 81/100. 60 x 60 cm. Rückseitig auf Papieretikett sign. und dat.: Sykora / (19)71. Daneben mit der Auflagennummerierung. Das Blatt liegt lose. Minim. wellig im linken unteren Randbereich. Ränder minim. gebräunt. Die Arbeit erschien als Jahresgabe des Kunstvereins Hannover.
ZDENEK SYKORA (1920 Louny 2011) Linie No 65. 1990. Oil and pencil on canvas. Signed and dated on the reserve: Sykora 1990. Also titled, dated and with measurements on the stretcher: Linie Nr. 65 70 × 70 1990. Furthermore with directional arrow on the overlap: above, and with the damaged label: ZDENEK SYKORA. 70 × 70 cm. The authenticity of this work has been confirmed by Ms. Lenka Sýkorová, Louny, 26 July 2022. The work is registered in the Lenka and Zdeněk Sýkora Archive under the number: L065 (there recorded under the title: Lines No. 65). We thank Ms. Sýkorová for her kind assistance. Provenance: - Purchased probably from Galerie Hofmann by the previous owner. - By descent to the present owner, private collection Switzerland. --------------- ZDENEK SYKORA (1920 Louny 2011) Linie Nr. 65. 1990. Öl und Bleistift auf Leinwand. Verso signiert und datiert: Sykora 1990. Zudem auf dem Keilrahmen betitelt, datiert und mit Massangaben: Linie Nr. 65 70 × 70 1990. Ebenso auf der Überlappung mit Richtungspfeil: oben, und mit dem beschädigten Etikett: ZDENEK SYKORA . 70 × 70 cm. Die Authentizität dieses Werkes wurde von Frau Lenka Sýkorová, 26. Juli 2022, Louny, bestätigt. Das Werk ist im Archiv von Lenka und Zdeněk Sýkora unter der Nummer: L065, registriert (dort unter dem Titel: Lines No. 65). Wir danken Frau Sýkorová für ihre freundliche Unterstützung. Provenienz: - Vom vorherigen Besitzer wohl in der Galerie Hoffmann, München (?) erworben. - Durch Erbschaft an den heutigen Besitzer, Privatsammlung Schweiz. ---------------
ZDENEK SYKORA (1920 Louny 2011) Nr. 8 – Trio Op 2. 1978. Oil and pencil on canvas. Signed, dated, titled and with measurements on the stretcher: Nr. 8 "Trio Op 2" 150 × 150, 1978. Zdeněk Sýkora. 150 × 150 cm. The authenticity of this work has been confirmed by Lenka Sýkorová, Louny, 5 October 2022 (recorded with the title: Lines No 8 – Hiršal’s Trio). We thank Ms Sýkorová for her kind assistance. Provenance: - Galerie Média, Neuchâtel. - Purchased from the above by the present owner, since then private collection Switzerland. Exhibitions: - Gorinchem 1979, Kunstcentrum Badhuis, Zdeněk Sýkora, Computer-schilderijen. September 22 - October 25. - Neuchâtel 1981-1982, Gallery Média. Cycle Média '81. 14 March - 10 January. "Even a combination that at first seemed uninteresting can lead to a result that I am surprised by. Chance enriches people: it prevents them from falling into stereotypes. With every picture, I end up being the one who is most shocked, even though I know at least a little bit beforehand what might emerge. I find the greatest analogy for this kind of art in music. For a composer who writes the individual parts more or less separately, it must also be a great experience to hear the whole work played in its entirety by all the instruments." Zdeněk Sýkora The Czech painter and sculptor Zdeněk Sýkora was one of the most widely exhibited and innovative exponents of Abstract, Concrete and Constructive Art. By reducing natural forms and colours, the artist gradually arrived at a form of geometric abstraction with a systematic pictorial structure: the Structural Pictures. With them Sýkora found a pictorial solution for the relationships between form and colour. The first computer-programmed structures were created as early as 1964. From 1973 onwards, the computer pioneer developed a new system based on the calculated principle of chance, which formed the basis of his well-known line pictures. Shapes, lengths, thicknesses, colours, and their intersections are determined by random numbers generated on the computer. Lines became important elements in Sýkora's paintings for the first time. Released from the strict order of structural grids, the line allowed him greater painterly freedom. For Sýkora, music is the pinnacle of all art forms because of its physical effect, complexity, and abstract nature. Ever since he created his first line paintings, he cherished the desire to transform them into a musical form. Consequently, it is no coincidence that in the present work entitled "Lines No 8 - Hiršal's Trio" the series of numbers used to establish the lines in this work are referred to Sýkora as “musical scores". For the viewer, this cheerful large-format work from 1978 with its black, orange, and violet meandering lines, which in places form themselves into tangles and gently meet, has the effect of a closely integrated harmonic symphony. This unique painting exemplifies the vitality and individuality that Sýkora is able to breathe into his line paintings. With the support of his wife, Sýkora continued to develop the theme of lines. The painting offered here, "Lines No 65" from 1990, is quite compelling with its black and blue, wider, and narrower, curved and almost straight lines, as well as the isolated small and larger dots, which are interrelated in an original way. Although Zdeněk Sýkora worked with systems, programmes, and the progressive principle of chance, he always remained true to painting. --------------- ZDENEK SYKORA (1920 Louny 2011) Nr. 8 – Trio Op 2. 1978. Öl und Bleistift auf Leinwand. Auf dem Keilrahmen signiert, datiert, betitelt und mit Massangaben: Nr. 8 "Trio Op 2" 150 × 150, 1978. Zdeněk Sýkora. 150 × 150 cm. Mit der Bestätigung der Authentizität von Lenka Sýkorová, Louny, 5. Oktober 2022 (dort verzeichnet mit dem Titel: Lines No 8 – Hiršal’s Trio). Wir danken Frau Sýkorová für ihre freundliche Unterstützung. Provenienz: - Galerie Média, Neuchatel. - Vom heutigen Besitzer bei obiger Galerie erworben, seitdem Privatsammlung Schweiz. Ausstellungen: - Gorinchem 1979, Kunstcentrum Badhuis, Zdeněk Sýkora, Computer-schilderijen. 22. September - 25. Oktober. - Neuenburg 1981 - 1982, Galerie Média. Cycle Média '81. 14. März - 10. Januar. "Auch eine Kombination, die zunächst uninteressant erschien, kann zu einem Ergebnis führen, dass ich überrascht bin. Der Zufall bereichert den Menschen: Er hindert ihn daran, in Stereotypen zu verfallen. Bei jedem Bild bin ich am Ende derjenige, der am meisten schockiert ist, obwohl ich vorher zumindest ein bisschen weiss, was in etwa entstehen könnte. Die grösste Analogie für diese Art Kunst finde ich in der Musik. Für einen Komponisten, der die einzelnen Parts mehr oder weniger getrennt schreibt, muss es auch ein grosses Erlebnis sein, wenn er das ganze Werk komplett von allen Instrumenten gespielt hört". Zdeněk Sýkora Der tschechische Maler und Bildhauer Zdeněk Sýkora zählt zu den exponiertesten und innovativsten Vertretern abstrakter, konkreter und konstruktiver Kunst. Über die Reduktion von natürlichen Formen und Farben gelangt der Künstler nach und nach zu einer geometrischen Abstraktion mit systematischem Bildaufbau: den Strukturbildern. Mit ihnen findet Sýkora eine bildnerische Lösung für die Beziehungen zwischen Form und Farbe. Bereits 1964 entstehen die ersten, am Computer programmierten Strukturen. Ab 1973 entwickelt der Computer-Pionier ein neues System, das auf dem kalkulierten Zufallsprinzip beruht und die Grundlage seiner bekannten Linienbilder darstellt. Formen, Längen, Dicken, Farben und ihre Kreuzungen werden durch Zufallszahlen, die am Computer generiert werden, festgelegt. Linien werden zum ersten Mal zu wichtigen Elementen in Sýkoras Gemälden. Losgelöst von der strengen Ordnung der strukturellen Raster erlaubt ihm die Linie eine grössere malerische Freiheit. Musik ist für Sýkora wegen ihrer physischen Wirkung, Komplexität und Abstraktheit das Glanzlicht unter den Kunstarten. Schon seit der Entstehung seiner ersten Liniengemälden hegt der Maler den Wunsch, diese in eine musikalische Form zu überführen. Folglich ist es kein Zufall, dass Sýkora die Zahlenreihen, auf denen die Parameter für die Linien der vorliegenden Arbeit "Lines No 8 - Hiršal’s Trio" basieren, "Partituren" nennt. Auf den Betrachter wirkt das spielerisch-heiter und grossformatige Werk aus dem Jahr 1978 mit seinen schwarzen, orangen und violetten schlängelnden Linien, die sich stellenweise zu Knäueln formen und sich sanft berühren, wie eine harmonische Symphonie mit enger Verbundenheit. Dieses einzigartige Gemälde steht beispielhaft für Vitalität und Individualität, die Sýkora seinen Linienbildern einzuhauchen vermag. Unterstützt von seiner Frau entwickelt Sýkora das Thema der Linien fortwährend weiter. Das hier angebotene Gemälde "Lines No 65" (Los 3463)aus dem Jahr 1990 besticht mit seinen schwarzen und blauen, breiteren und schmalen, gebogenen und fast geraden Linien sowie den vereinzelten kleinen und grösseren Punkten, die in origineller Weise in gegenseitigen Beziehungen stehen. Obwohl Zdeněk Sýkora mit Systemen, Programmen und dem fortschrittlichen Prinzip des Zufalls arbeitet, bleibt er der Malerei stets treu. ---------------
Sykora, Z. (1920-2011). (Red-blue structure). Col. silkscreen, 61,8x46,2 cm. (leaf 84x52,5 cm.), numb. "A 2/10" in ballpoint in outer lower blank corner. - (Broad) blank margins sl. yellowed, trifle duststained, w. some vague handling creases and 2 sm. (repaired) tears and sm. ruststains from former paperclip in upper blank margin. = Verso w. pencil annotitation: "Zdenek Sykora/ Structuur zeefdruk 1968/ Coll. Liesbeth Brandt Corstius". SEE ILLUSTRATION PLATE LXII.
Bubb > Kuyper: Auctioneers of Books, Fine Arts & Manuscripts
O.S.S.R. Rosa-Grün-Struktur Farb. Siebdruck. 1970. 58,6 x 42 cm. Auf dem rückseitigen Etikett signiert, datiert und nummeriert. (34) Exemplar 38/100. – Erschienen in der Frankfurter Edition Hoffmann. – Druck auf PVC. – Makellos erhalten.
Zdenek Sýkora (1920-2011) BLACK-AND-WHITE STRUCTURE Screenprint, 1968, on wove paper, signed, dated and numbered 39/100 in ink (faded), the full sheet, framed. Sheet 34 1/2 x 17 1/4 inches; 876 x 438 mm. Harry Lowe was Deputy Director of the Smithsonian American Art Museum, 1982-1984. C Estate of Harry Lowe
(1920 Louny 2011). Cerveno-zelená struktura I. Serigraphie. 1968. 70 x 70 cm. Verso sign. - Ex. 86/140. An den Rändern tls. deutliche Knickspuren sowie best. u. kl. Einrisse. - Serigraphy. Bumped at the margins, crease marks and small tears. R
Zdenek Sykora 1920 Louny - 2011 Louny - Black and white structure - Serigrafie/Karton. 81/100. 60 x 60 cm. Rückseitig auf Papieretikett sign. und dat.: Sykora / (19)71. Daneben mit der Auflagennummerierung. Das Blatt liegt lose. Minim. wellig im linken unteren Randbereich. Ränder minim. gebräunt. Die Arbeit erschien als Jahresgabe des Kunstvereins Hannover.
Signed and dated 'Sýkora 92' verso on canvas. Signed, dated, and titled 'ZDENĚK SÝKORA LINIE Nr. 102 1992' on stretcher and illegibly inscribed and with dimensions. The present work is registered in the Lenka Sýkorová and Zdeněk Sýkora Archive, Louny. With ‘Linien Nr. 102’, Zdeněk Sýkora, the most important representative of Czech Constructivism and a pioneer of computer-aided art, created an intensive work of impressive density. Bands of colour glide horizontally through the pictorial space in languid undulations – in their massiveness they could be described more as paths than lines. Their all-encompassing presence is unusual; they literally fill the pictorial space. At the beginning of the 1970s, the artist’s style evolved to line paintings via the enlargement of abstract structures which he constructed with the aid of a computer. Using a random generator, Sýkora first specified the starting points of the lines, their width and colour. In the next step, he defined the lengths and directions of the tangents from which the arcs were constructed that determined the course of the lines. Finally, he calculated their points of intersection. During the entire construction of the picture, the artist adheres to the data randomly produced by the computer without any intervention or selection on his part. “Even a combination that initially seems uninteresting can lead to a result that surprises me. Chance enriches man: it prevents him from falling into stereotypes. With every painting, I end up being the one who is most shocked, even though I have a vague notion beforehand what might emerge. I find the greatest analogy for this kind of art in music. For a composer who writes the individual parts more or less separately, it must also be a great experience to hear the work played as a whole by all the instruments.” (Zdeněk Sýkora in an interview with Vít Petrjanoš, 1991, quoted from: www.zdeneksykora.com)
Signed and dated lower middle "Sýkora 1967/2009". Framed under glass. Serigraphy. Dimensions with a frame 81 x 81 cm. Czech artist. More Information on - https://www.groma.sk/salova-aukcia/katalog
Signed. Bibliophile. Bibliophile was published in 2007 by Aulos and includes art of Zdeněk Sýkora and Lenka Sýkorová. Authentic graphic artwork signed on two places by author with dimensions 28 x 71 cm is attached to bibliophile. This bibliophile is one of 99 numbered copies (73/99) . Czech artist. More Information on - https://www.groma.sk/salova-aukcia/katalog
(1920 Louny 2011). Cerveno-zelená struktura I. Serigraphie. 1968. 70 x 70 cm. Verso sign. - Ex. 86/140. An den Rändern best. Knickspuren u. kl. Risse. - Serigraphy. Bumped at the margins, crease marks and small tears. R
ZDENEK SYKORA (1920 Louny 2011) Linie Nr. 93. 1992. Oil on canvas. Signed and dated on the reverse: Sykora 92, also signed, titled, dated and with size and technique on the stretcher: SYKORA: LINIE Nr. 93, 93 x 93 cm, olej/platne, 1992. 94 × 94 cm. The authenticity of this work has been confirmed by Lenka Sýkorová, Louny, Czech Republic, 11 October 2021. We thank Ms Sýkorová for her kind support. Provenance: - Purchased probably at Galerie Hofmann, Munich by the previous owner. - By descent to the present owner, since then private collection Switzerland. Exhibition: Amsterdam 1993. Zdeněk Sýkora – New Line-paintings. Art Affairs Gallery, 8 May – 30 June. "The entire structure is an organic whole, built exactly according to previously established rules. To reverse one element in the underlying program is to change the whole structure. From this, I think it becomes clear that it is not a matter of designing a surface, but of producing elements that can be coded and programmed, with the program serving as the basis for the creation of the structure. The edge of the picture is not actually a boundary, but rather the structure continues on all sides." Zdeněk Sýkora In 1992, Zdeněk Sýkora created the present work "Line No. 93", also part of the group of line paintings. In contrast to his line paintings of the 1980s, this decorative painting is dominated by broader, denser lines meandering across the entire pictorial field, which in places extend beyond the edge of the canvas and, by means of overlapping, evoke a particular impression of depth for the viewer. This imposing work captivates us with its intertwined bands of colour in orange, red, blue, brown, black and green. It exemplifies the impressive liveliness and individuality that the artist was able to breathe into the line paintings. Although Zdeněk Sýkora planned the colourful line structure with computer technology and applied it to the canvas with great technical precision, the lines unmistakably take on a life of their own. And only the principle of chance, on which the artist based these compositions, makes this possible. --------------- ZDENEK SYKORA (1920 Louny 2011) Linie Nr. 93. 1992. Öl und Bleistift auf Leinwand. Verso signiert und datiert: Sykora 92, sowie auf dem Keilrahmen signiert, betitelt, datiert und mit Mass- und Technikangaben: SYKORA: LINIE Nr. 93, 93 x 93 cm, olej/platne, 1992. 94 × 94 cm. Mit der Bestätigung der Authentizität von Lenka Sýkorová, Louny, Tschechien, 11. Oktober 2021. Wir danken Frau Sýkorová für ihre freundliche Unterstützung. Provenienz: - Vom vorherigen Besitzer wohl in der Galerie Hofmann, München (?) erworben. - Durch Erbschaft an den heutigen Besitzer, seitdem Privatsammlung Schweiz. Ausstellung: Amsterdam 1993. Zdeněk Sýkora – New Line-paintings. Art Affairs Gallery, 8. Mai – 30. Juni. "Die gesamte Struktur ist ein organisches Ganzes, das genau nach den zuvor festgelegten Regeln aufgebaut ist. Ein Element im zugrundeliegenden Programm umzukehren, bedeutet eine Veränderung der gesamten Struktur. Daraus wird, denke ich, deutlich, dass es nicht um die Gestaltung einer Fläche geht, sondern um das Hervorbringen von Elementen, die programmier- und programmfähig sind, wobei das Programm als Grundlage für die Entstehung der Struktur dient. Der Bildrand ist dabei eigentlich keine Grenze, sondern die Struktur setzt sich nach allen Seiten hin fort". Zdeněk Sýkora Im Jahr 1992 schafft Zdeněk Sýkora die vorliegende Arbeit "Linie Nr. 93", die ebenfalls zur Werkgruppe der Linienbilder gehört. Im Gegensatz zu seinen Linienbildern der 1980er Jahre wird dieses Gemälde von breiteren, dichteren und über das gesamte Bildfeld schlängelnden Linien dominiert, die stellenweise über die Grenze der Leinwand hinauslaufen und durch Überlagerungen beim Betrachter eine besondere Tiefenwirkung auslösen. Dieses imposante Werk besticht mit ineinander verschlungenen Farbbändern in Orange, Rot, Blau, Braun, Schwarz und Grün. Es steht beispielhaft für die beeindruckende Lebendigkeit und Individualität, die der Künstler den Linienbildern einzuhauchen vermag. Obwohl Zdeněk Sýkora das farbenfrohe Liniengefüge computertechnisch plant und mit grosser technischer Präzision auf die Leinwand aufträgt, führen die Linien unverkennbar ein Eigenleben. Und nur das Zufallsprinzip, das der Künstler dieser Kompositionen zugrunde legt, macht dies möglich.
ZDENEK SYKORA (1920 Louny 2011) Lines No. 12. 1981. Oil and pencil on canvas. Signed and dated on the overlap: Sykora. 1981. Nr. 12. 170 × 170 cm. The authenticity of this work has been confirmed by Lenka Sýkorová, Louny, Czech Republic, 11 October 2021. We thank Ms. Sýkorová for her kind support. Provenance: - Purchased probably from Galerie Hofmann, Munich, by the previous owner. - By descent to the present owner, since then private collection Switzerland. "Chance as an instrument for constructing lines and for changing their character and spatial relationships is for me the most powerful expressive resource I have found so far. This process connects me with everything I perceive, think and experience. My feeling, knowledge and perception are reflected in my paintings." Zdeněk Sýkora The Czech painter Zdeněk Sýkora was one of the most high-profile and innovative exponents of abstract, concrete and constructive art. The computer art pioneer gained worldwide recognition for his line paintings, which were created from 1973 onwards. After studying art education, descriptive geometry and sculpture, he initially devoted himself to landscape painting. "Painting in nature was most effective for the cultivation of artistic perception [...]. In nature at the easel, they suddenly began to understand that artistic perception of the world is about a specific quality of things, about the relationship between things," said Zdeněk Sýkora, as the lecturer, who constantly enriched his students’ learning with personal experiences and specialist skills from his own life. By reducing natural forms and colours, the artist gradually arrived at a geometric abstraction with a systematic pictorial composition: the structural pictures. With these, the artist found a pictorial solution for the relationships between form and colour. In order to be able to calculate the random distribution of geometric forms mathematically and to conceive his pictures, from 1964 Zdeněk Sýkora became one of the first artists to make use of the computer. At the beginning of the 1970s, a renewed artistic process began, in which he concentrated on the surface contour in the form of a line. Released from the structural grid, the line allowed him greater painterly freedom, to which he turned with great conviction from 1973 onwards. The present work, "No. 12", from the series of line paintings, looks to the viewer like a tangle of colourful streamers. It was created in 1981. Zdeněk Sýkora painted various forms of lines: narrow and wider lines, lines that move only in some randomly chosen directions, short-lived lines and even clusters of lines. The bright and playful, large-scale work is based on the principle of chance, which is the foundation of the line paintings. The shapes, length, width, colours and intersections of the lines are determined by random numbers generated by the computer. Although Zdeněk Sýkora worked with systems, programs and the progressive principle of chance, he always remained true to painting and dealt with shapes, colours and their mutual relationships in an original way. What is fascinating and very unusual within the sphere of concrete art is that he, an exponent of non-objective painting, who was acclaimed throughout the world, at the same time continued to paint landscapes into old age. To this day, Zdeněk Sýkora is one of the most important artists in his country. His works are represented in international and Czech collections. --------------- ZDENEK SYKORA (1920 Louny 2011) Linien Nr. 12. 1981. Öl und Bleistift auf Leinwand. Auf der Überlappung signiert und datiert: Sykora. 1981. Nr. 12. 170 × 170 cm. Mit der Bestätigung der Authentizität von Lenka Sýkorová, Louny, Tschechien, 11. Oktober 2021. Wir danken Frau Sýkorová für ihre freundliche Unterstützung. Provenienz: - Vom vorherigen Besitzer wohl in der Galerie Hofmann, München (?) erworben. - Durch Erbschaft an den heutigen Besitzer, seitdem Privatsammlung Schweiz. "Der Zufall als Instrument für die Konstruktion von Linien und für die Veränderung ihres Charakters und ihrer räumlichen Beziehungen ist für mich das stärkste Ausdrucksmaterial, zu dem ich bis jetzt gefunden habe. Dieser Prozess verbindet mich mit allem, was ich wahrnehme, denke und erlebe. Mein Fühlen, Wissen und Erkennen spiegeln sich in meinen Bildern wider". Zdeněk Sýkora Der tschechische Maler Zdeněk Sýkora zählt zu den exponiertesten und innovativsten Vertretern abstrakter, konkreter und konstruktiver Kunst. Für seine Linienbilder, die ab 1973 entstehen, erlangt der Computerkunst-Pionier weltweit grosse Anerkennung. Nach einem Studium für Kunsterziehung, deskriptive Geometrie und Plastik widmet er sich zunächst der Landschaftsmalerei. "Das Malen in der Natur war für die Kultivierung der künstlerischen Wahrnehmung am effektivsten […]. In der Natur an der Staffelei begannen sie auf einmal zu begreifen, dass es bei der künstlerischen Wahrnehmung der Welt um eine spezifische Qualität der Dinge, um die Beziehung zwischen den Dingen geht", sagte der Dozent Zdeněk Sýkora, der seine Studenten immer wieder mit persönlichen Lebenserfahrungen und Fachkompetenzen aus seinem Leben bereicherte. Über die Reduktion von natürlichen Formen und Farben gelangt der Künstler nach und nach zu einer geometrischen Abstraktion mit systematischem Bildaufbau: den Strukturbildern. Mit ihnen findet der Tscheche eine bildnerische Lösung für die Beziehungen zwischen Form und Farbe. Um die zufällige Verteilung geometrischer Formen mathematisch berechnen und seine Bilder konzipieren zu können, setzt Zdeněk Sýkora ab 1964 als einer der ersten Künstler den Computer ein. Anfang der 1970er Jahre beginnt ein erneuter künstlerischer Prozess, in dem er sich auf die Flächenkontur in Form einer Linie konzentriert. Losgelöst vom strukturellen Raster erlaubt ihm die Linie eine grössere malerische Freiheit, der er sich ab 1973 mit grosser Überzeugung zuwendet. Das vorliegende Werk "Nr. 12" aus der Werkreihe der Linienbilder wirkt auf den Betrachter wie ein Gewirr bunter Luftschlangen. Es entsteht 1981. Zdeněk Sýkora malt verschiedene Formen von Linien: schmale und breitere Linien, Linien, die sich nur in einigen zufällig ausgewählten Richtungen bewegen, kurzlebige Linien und sogar Linienknäuel. Die spielerisch heitere und grossformatige Arbeit basiert auf dem Zufallsprinzip, das die Grundlage der Linienbilder darstellt. Formen, Länge, Breite, Farben und Schnittpunkte der Linien werden anhand zufälliger Zahlen festgelegt, die der Computer generiert. Obwohl Zdeněk Sýkora mit Systemen, Programmen und dem fortschrittlichen Prinzip des Zufalls arbeitet, bleibt er stets der Malerei treu und beschäftigt sich auf originelle Weise mit Formen, Farben und ihren gegenseitigen Beziehungen. Faszinierend und in der Sphäre der konkreten Kunst sehr ungewöhnlich ist, dass Zdeněk Sýkora, der auf der ganzen Welt ein gefeierter Vertreter der gegenstandsfreien Malerei ist, bis ins hohe Alter parallel weiterhin Landschaftsbilder malt. Bis heute gehört Zdeněk Sýkora zu den bedeutendsten Künstlern seines Landes. Seine Werke sind in internationalen und tschechischen Sammlungen vertreten.
color serigraphy 70 x 100 cm signed and dated lower right: "Sykora 2006" numbered lower left: 4/70 Publicated. Consulted with Mrs. Lenka Sykorova (painter's copyright holder). Confirmation of authenticity attached.
color serigraphy 70 x 70 cm signed and dated lower right: "Sykora 2007" numbered lower left: 36/70 Publicated. Consulted with Mrs. Lenka Sykorova (painter's copyright holder). Confirmation of authenticity attached.
oil on canvas 60,5 x 79 cm verso signed and dated: "Sykora 87" Consulted with Mrs. Lenka Sykorova (painter's copyright holder). According to her statement, Zdenek Sykora worked on the painting for many years, he called it the "relic painting" (the author painted it from remnants of paint). There are only two similar variants of this work. This is absolutely exceptional and a very rare work of the artist. Confirmation of authenticity attached.
All sheets: 26/80. Signed and dated lower right: Sykora, 95. On folder lock numbered and inscribed: Sykora II. In the colophon: Neuchâtel, Édition Média, 1995. In cardboard folder.
Signed and dated 'Sýkora 85' on the canvas verso. Signed, dated and titled 'Nr. 31 1985 Zdenék Sýkora, Nr. 31 1985' and dimensions and address stamp of the artist on the stretcher. The present work is registered in the Lenka Sýkorová and Zdenék Sýkora Archive, Louny. The present painting has been used as a draft in a modified form for the print: Phase No.31, 1989, colour screen print on paper, 70 x 70 cm, Edition Kunstverein Dusseldorf. Lines of an unusual width and density dominate this work by Zdenek Sýkora from the series of works of the line paintings, on which Sýkora had been working since 1973. Inextricably intertwined bands of colour in orange, blue, green, brown, and black dominate the foreground and catch the gaze of the viewer. The twisted lines begin to loosen up only in the upper and lateral areas. The work exemplifies the striking vivacity and individuality that the artist is able to breathe into his line paintings. The broad lines in the foreground convey a feeling of severity and inertia and their compact entanglements appear impenetrable. In contrast, the white pictorial space appears to open up and become lighter toward the borders; fine lines become more prominent in this area, radiating an animated activity. Although planned by the artist using computer technology and applied to the canvas with great technical precision, his lines unmistakably lead a life of their own - and this is only made possible because Sýkora bases his compositions on the principle of chance. The mesh of lines on the square pictorial ground always appears to be only a section of a larger whole and is reminiscent of natural phenomena. These associations are probably in keeping with the spirit of the artist who began his career as a landscape painter and who repeatedly addressed his relationship to nature: “At work I always come up with something new [...]. One could also say that each painting stems from the previous one, and the next one from the present one. Just as it is in nature.” (Zdenek Sýkora, cited from: Zdenek Sýkora, System und Kraft der Linie, exhib. cat. Emil Schumacher Museum Hagen, Dortmund 2015, p. 20).
Zdeněk Sýkora was one of the very progressive artists who thoroughly researched the effect of color and line. He also used a computer to compose some of his artworks. The technique of serigraphy is invaluable in the case of Sýkor's work, because we have a very good idea of the author's work. He used the lines as an analogy to human lives, thoughts and relationships and related their individual compositions to the authors he admired. Among them was, for example, Karel Hynek Mácha. Published by: L. Sýkorová: Zdeněk Sýkora, Graphics, Prague 2008, p. 157 Technique: Serigraphy, paper
serigraphy on Koehler paper 59,5 x 59,5 cm signed and dated lower right: "Sykora 95" numbered lower left 75/100 published by the Wilhelm-Hack-Museum in Ludwigshafen on the occasion of a retrospective exhibition by Zdenek Sykora Publicated. Confirmation of authenticity attached.
Prof. Zdenek Sykora, geometrische Komposition rote Formen auf blauem Grund, Farbsiebdruck auf leichtem Karton, rückseitig typographisch bezeichnet „Zdenek Sykora/Serigraphie 1967 (C) Edition H. Haske. Hannover“, minimalste Altersspuren, Blattmaße ca. 60 x 60 cm. Künstlerinfo: tschechischer Maler und Bildhauer (1920 Louny bis 2011 Louny) ab 1940 Beschäftigung mit der Malerei, um 1960 Auseinandersetzung mit konkreter und konstruktivistischer Kunst, ab 1966 Professur an der Karls-Universität in Prag, ab 1964 zusammen mit einem Physiker Erarbeitung von Prinzipien seiner konkreten Kunst, 1968 Teilnahme an der documenta in Kassel, ab 1972 Entstehung seiner „Linienbilder“, Quelle: Wikipedia.
Zdeněk Sýkora was a Czech painter whose works are represented in many important collections of modern world art. He is one of the world's pioneers in the use of computer technology in the preparation of works of art. The combination of artwork and computers had many opponents in its beginnings (in the 1960s), mainly because of the belief that the computer could suppress human emotionality. For Sýkora, however, the use of artificial intelligence was an opportunity to re-explore the properties of basic artistic means, such as color and shape. Published by: Zdeněk Sýkora, Graphics, pp. 71, 154, Gallery, Prague, 2008 Technique: Screen printing, paper, Signed: On reverse "Sýkora 43/100"
Ohře River near the village of Počedělice was one of Zdeněk Sýkora's most frequent motifs in the 1960s, and he painted here until the 1980s. He also returned here very often, whenever he was longing to be in the wild. In 2013, a memorial place was created here, where friends and admirers of Zdeněk Sýkora's work meet at the memorial panel every year in July. His landscapes went through a major formal transformation - from realistic, through impressionist and Fauvist to reduced shapes and colors in the late 1950s, the so-called Gardens. Most of us associate Zdeněk Sýkora with his geometric structures, shapes, stains and lines, and his works are represented in a number of world and Czech collections. In 2007, the painting Line No. 24 became part of the permanent exhibition of the Center Pompidou in Paris. The authenticity of the work was confirmed by Lenka Sýkorová, the artist's wife. From Lenka Sýkorová's assessment: "In the way of painting, this painting follows the work from the period around 1958 (ie before the Gardens cycle), when the paintings still corresponded with the motif in terms of drawing and color. This type of landscape can be considered a study of his painting skills in direct confrontation with nature. As a rule, he no longer worked on them in the studio (unlike the landscapes of the late 1970s and early 1980s - horizons, fields, paths). All the attributes of this painting point to Sýkora's authorship. " Technique: Oil on canvas, Signed: Unsigned
SÝKORA, ZDENEK 1920 Louny, Tschechien - 2011 Title: Regelmäßige Struktur I. Date: 1968. Technique: Schräg geschnittene PVC Röhren. Measurement: 37,5 x 38 x 6cm. Notation: Signiert und nummeriert auf Klebeetikett: 31/56 Sykora. Kestner-Gesellschaft Hannover (Hrsg.). Number: 31/56. Jahresgabe der Kestner Gesellschaft 1968. Die Arbeit stammt aus einer Gesamtauflage von insgesamt 100 Exemplaren, die in zwei Farbvarianten (rot und schwarz) erschien.
Grau-weiße Struktur. Siebdruck. 1975. 69,7 x 50 cm. Auf dem beiliegenden Etikett signiert, datiert und nummeriert. (10) Exemplar 90/100. – Erschienen in der Mappe "Symposion Gorinchem" des Kunstcentrums Badhuis in Gorinchem. - Auf leichtem Karton. – Die Etiketten wurden für die gesamte Auflage mit einem Klebstoff auf der Rückseite fixiert, der vorderseitig minimal durchschlägt. – Vorzüglich erhalten und in einer ebenso schlichten wie aufwendigen Rahmung.
