Cape Town, 11 October 2011

104 164 Irma Stern S OUTH A FRICAN 1894-1966 Two Indian Women signed and dated 1935 gouache 22 by 16,5cm R80 000 – 120 000 Stern’s exposure to European Modernism and her engagement with German Expressionists such as Max Pechstein, encouraged her understanding of the nature of contemporary art as independent of everyday reality. Viewing her oeuvre through the three major paintings on this auction, one can trace her increasing liberation from the constraints of academic painting. The tenets of expressionism are summed up by Neville Dubow, in his monograph on the artist: Expressionism is an attitude of mind rather than a codified formal usage. It is the antithesis of rational lucid order. It is an art of urge rather than measured reflection. It impels action rather than contemplation. It is artistic energy brought to the surface. ... an expressionist style is the natural outlet for the emotionally charged artist. It’s formal vehicle is the artist’s gesture which tends to be broad, vigorous and sweeping … 1 Yachts and Houses demonstrates both the tenets of expressionism and the increasing freedom with which Stern experimented. Painted in 1950, the year in which Stern made another trip to Madeira , the scene is in all probability a view from a boat or a quay showing yachts in the foreground, tall houses with typical, terracotta-tiled roofs and between them, what appears to be a mill. Comparison with White Houses Madeira , sold at Strauss & Co’s inaugural sale in March 2009, reveals the dramatic development in her style between 1931 and 1950. While the earlier painting employs perspective to suggest space, in this work Stern has compressed space and incorporated dynamic, intersecting lines to produce a vibrant and almost abstract composition that captures much of the excitement and joy she felt about Madeira. Figure on a Beach (Lot 168) was acquired directly from the artist by Neville Dubow, Professor of Fine Art at the Michaelis School of Fine Art and Director of the UCT Irma Stern Museum, a recognised authority on Stern and the author of several monographs on her work. In her last period, Dubow observes how her style changed in response to an overwhelming sense of urgency to produce as many paintings as possible. With increasing economy of means, Stern captures the experience of a hot day on the beach. She presents us with a naked woman wrestling with a towel on a sandy beach, rather than an idealised, classical nude reclining languidly on the shore. This woman is as conscious of her body as she is of the viewer and returns the viewer’s gaze with an omniscient over-the- shoulder look. As if to remind us that we are looking at art, and not through an imagined window, she places a frame around the composition. 1 Neville Dubow, Irma Stern, C. Struik Publishers, 1974, p13.