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拍品专文
« Avec ses signes, ses symboles, ses métaphores et même ses allégories, [Penck] a utilisé une gamme d'instruments esthétiques qui avaient été négligés ou éliminés dans l'art moderne. Mais en même temps, il a utilisé la simplification radicale et la linéarité pour former un style entièrement nouveau qui se distingue nettement du langage des formes basé sur l'antiquité, qui a prévalu tout au long des siècles, de la Renaissance à l'Art nouveau. Il a également intégré le coup de pinceau énergique et informel et les méthodes sérielles de l'Op Art, et a ajouté avec autant de bonheur les figures expressionnistes. Peut-être pouvons-nous voir dans l'art d'A.R. Penck le début du post-modernisme ». - Johannes Schmidt
“With his signs, symbols, metaphors and even allegories, [Penck] used a range of aesthetic instruments that had been neglected or eliminated in modern art. But at the same time, he used radical simplification and linearity to form an entirely new style that was distinctly different from the antiquarian-based language of form that had prevailed throughout the centuries, from the Renaissance to Art Nouveau. He also incorporated the energetic, informal brushstrokes and serial methods of Op Art, and just as happily added expressionist figures. Perhaps we can see in A.R. Penck's art the beginning of post-modernism.” - Johannes Schmidt
“With his signs, symbols, metaphors and even allegories, [Penck] used a range of aesthetic instruments that had been neglected or eliminated in modern art. But at the same time, he used radical simplification and linearity to form an entirely new style that was distinctly different from the antiquarian-based language of form that had prevailed throughout the centuries, from the Renaissance to Art Nouveau. He also incorporated the energetic, informal brushstrokes and serial methods of Op Art, and just as happily added expressionist figures. Perhaps we can see in A.R. Penck's art the beginning of post-modernism.” - Johannes Schmidt