Acrylic on canvas
150 x 140 cm / 59 x 55 1/8 in
Recto, signed and dated, upper right: ‘Förg 07

EUR 550,000

Günther Förg

Günther Förg was born in 1952 in the region of Allgäu, Germany. His career began in the early 1970s as student at The Academy of Fine Art Munich. During his studies, Förg developed a practice grounded almost exclusively in grey and black monochrome. These early investigations into gray—also called ‘Gitter’ paintings—demonstrate the beginning of a lifelong commitment to conceptualism. While the artist later incorporated color into his monochrome series, his use of gray represents a neutral foundation from which he conceived his oeuvre.

‘The paintings are like poems instead of constructions; the colours unfold and expose each other, like a line of verse pushes the next line into profile. Sometimes they even rhyme.’
—Rudi Fuchs


‘Untitled’ (2007) is a vibrant example of Günther Förg’s iconic ‘Spot Paintings’, the last series the artist made before he was taken ill and stopped painting in 2009. The series celebrates the act of painting, drawing on Förg’s earlier painterly practice but reimagining his previous explorations in radically new and extraordinarily innovative ways. The expressive, dynamic brushstrokes and dashes of color which make up ‘Untitled’ convey a playful, chromatic harmony. Förg has transformed the previous lattice structures from his renowned series of ‘Grid Paintings’ into rhythmic, gestural marks that appear to float across the large-scale canvas. Contrasting bright hues of fuchsia, orange and chartreuse green with intersections of mauve and grounding shades of brown, blue and black, this bustling composition reflects the conceptual principles that underpinned Förg’s practice: a formal purism, a sense of the artwork as object and an architectural, analytical interest in space.

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Celebrating Basel Basel

Günther Förg’s inquiry into architectural interiors is visible in the exhibition ‘Focus: Günther Förg / Bernard Frize’ at Kunstmuseum Basel in 2006. Frize’s endless meanders with fading color were a direct contrast to Förg’s monochromatic abstraction. It is Förg’s later works on canvas, such as ‘Untitled’ (2007) that draw comparisons with Frize’s work.