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Lot Closes In:
Stephen McKenna
UNTITLED
Lot 9
Current Bid:
€7,500
Bid History:
2 Bids
Estimate:
€10,000 - €15,000
Ending:
18:06:00 on 28/05/2024
Stephen McKenna PPRHA, 1939-2017
UNTITLED
Oil on canvas, 35 1/2" x 71" (90.1 x 180.3cm), signed; signed, dated 2000. Opus no. K0036.
Provenance: The Collection of Architect John Meagher, Dublin. Originally commissioned from the artist by john's ... Read more
Lot 9
Stephen McKenna
UNTITLED
DVTV Click Here To View VideoUNTITLED
Oil on canvas, 35 1/2" x 71" (90.1 x 180.3cm), signed; signed, dated 2000. Opus no. K0036.
Provenance: The Collection of Architect John Meagher, Dublin. Originally commissioned from the artist by john's ... Read more
Lot 9
Stephen McKenna
UNTITLED
Estimate:
€10,000 - €15,000
Stephen McKenna PPRHA, 1939-2017
UNTITLED
Oil on canvas, 35 1/2" x 71" (90.1 x 180.3cm), signed; signed, dated 2000. Opus no. K0036.
Provenance: The Collection of Architect John Meagher, Dublin. Originally commissioned from the artist by john's brother, Barry.
Born in London, McKenna lived and worked in various European countries, later dividing his time between Italy and Ireland. He eventually settled in Bagnelstown, Co Carlow, and was elected President of the RHA. However, travel is central to the understanding of his work as it initially opened his eyes to 19th century French, German and Italian painting and, also, to classical mythology and architecture. Gradually McKenna's overt classical themes gave way to still life, interior and landscape painting, all marked by a controlled, elegant approach. He paints the observed world, managing to combine a sense of visual accuracy with his own imposed order.
In Untitled, we find an ambitious allegorical painting which is a culmination of all the artist's interests: a classical building anchoring a figure from Greek mythology and a sumptuous still life, with sea and land as a dramatic backdrop. With a nod to Birth of Venus in the little piece over the doorway, McKenna then re-imagines the classical sculpture of Artemis, Greek goddess of the hunt, wilderness, and nature. On the table beside her are the fruits of her time in the forests and beside the sea. This painting most certainly celebrates the abundance of nature.
McKenna's works are characterised by a strong internal abstract order and geometry, where shapes are subtly echoed in several parts of each composition so that a visual dialogue ensues. This painting is dominated by the rhythmic repetition of rectangular shapes, most notably those in the floor tiles and the pergola above the table. However, upon closer inspection, the windows and pillars of the building reinforce this rhythm. The real strength of McKenna's work comes from the way he creates tension between a convincingly 'real' observed space and the artificially constructed two-dimensional space of the painted image. His versions are more unified and self-contained than their counterparts in the real world.
Underpinning each composition is a taut linear framework. There is the sense that every aspect of the painting holds together, that McKenna has never lost sight of the work in its entirety. Untitled is bathed in a subtly coloured unifying light. Pigment is applied carefully, with subtle modulations rather than showy brushwork. Colours are restrained, pulled tightly into a smaller, calmer range than one finds in the real world. McKenna's classicism is not based on motifs but is characterised by a classical spirit.
Dr Frances Ruane HRHA
May 2024
UNTITLED
Oil on canvas, 35 1/2" x 71" (90.1 x 180.3cm), signed; signed, dated 2000. Opus no. K0036.
Provenance: The Collection of Architect John Meagher, Dublin. Originally commissioned from the artist by john's brother, Barry.
Born in London, McKenna lived and worked in various European countries, later dividing his time between Italy and Ireland. He eventually settled in Bagnelstown, Co Carlow, and was elected President of the RHA. However, travel is central to the understanding of his work as it initially opened his eyes to 19th century French, German and Italian painting and, also, to classical mythology and architecture. Gradually McKenna's overt classical themes gave way to still life, interior and landscape painting, all marked by a controlled, elegant approach. He paints the observed world, managing to combine a sense of visual accuracy with his own imposed order.
In Untitled, we find an ambitious allegorical painting which is a culmination of all the artist's interests: a classical building anchoring a figure from Greek mythology and a sumptuous still life, with sea and land as a dramatic backdrop. With a nod to Birth of Venus in the little piece over the doorway, McKenna then re-imagines the classical sculpture of Artemis, Greek goddess of the hunt, wilderness, and nature. On the table beside her are the fruits of her time in the forests and beside the sea. This painting most certainly celebrates the abundance of nature.
McKenna's works are characterised by a strong internal abstract order and geometry, where shapes are subtly echoed in several parts of each composition so that a visual dialogue ensues. This painting is dominated by the rhythmic repetition of rectangular shapes, most notably those in the floor tiles and the pergola above the table. However, upon closer inspection, the windows and pillars of the building reinforce this rhythm. The real strength of McKenna's work comes from the way he creates tension between a convincingly 'real' observed space and the artificially constructed two-dimensional space of the painted image. His versions are more unified and self-contained than their counterparts in the real world.
Underpinning each composition is a taut linear framework. There is the sense that every aspect of the painting holds together, that McKenna has never lost sight of the work in its entirety. Untitled is bathed in a subtly coloured unifying light. Pigment is applied carefully, with subtle modulations rather than showy brushwork. Colours are restrained, pulled tightly into a smaller, calmer range than one finds in the real world. McKenna's classicism is not based on motifs but is characterised by a classical spirit.
Dr Frances Ruane HRHA
May 2024
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In the event of a tied bid, the preference will be given to the bid submitted first. The second bidder will receive immediate notification of being outbid.
PLEASE BID EARLY TO AVOID DISAPPOINTMENT.
In order to allow rival bidders the opportunity to respond to a late bid the following extensions will apply:
IF A BID IS RECEIVED WITHIN THE FINAL 45 SECONDS OF THE COUNTDOWN THE CLOCK WILL RESET TO 60 SECONDS.
At any point you can leave a maximum bid, representing the highest price you are prepared to pay for a particular lot. Bidding only advances when there is competition from a rival bidder. In that case the system bids on your behalf, only up to the maximum if required. All bids are relayed to you be email, along with notification if you have been outbid.
All maximum bids are confidential and not disclosed. The system will endeavor to purchase the lot for you for the least price. Bids are subject to buyer’s premium of 25% (incl vat), with no additional charges.
In the event of a tied bid, the preference will be given to the bid submitted first. The second bidder will receive immediate notification of being outbid.
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