(Kappel, Carinthia, 1919–2014 Vienna)
‘Bishop’, signed M. Lassnig and dated 1962 on the reverse, oil on canvas, 121 x 100 cm, framed, (K)

Christa Murken, Maria Lassnig, Verlag Murken-Altrogge, 1990, no. 189

Exhibited and illustrated in colour in the catalogue:
Maria Lassnig, Museum Moderner Kunst, Museum des 20. Jahrhunderts, Vienna/Kunstmuseum Düsseldorf/Kunsthalle Nürnberg,
Kärtner Landesgalerie, Klagenfurt, Riter Verlag, 1985, page 52
Maria Lassnig, Museum moderner Kunst Stiftung Ludwig Wien, 20er Haus/Musée des Beaux-Arts de Nantes/Fondes Régional d’Art Contemporain des Pays de la Loire, Nantes, 1999, p. 34

17 March – 5 April 1960
recipes for painting
you must be hungry, have inhibitions,
be able to forget about all images.
the picture comes secondary (don’t look when you are painting!)
discard style! you’ll exhaust yourself early enough.
you must try to combine duration and expansion with
movement and vehemence.

the rhythm of painting should resemble the painting when
life throttles us (1951).
in the long run, pure gesture will produce focal points,
points of concentration.
you can also start out from them, lose and shift them.
for this, use a lot of turpentine, lots of painting cloths,
and a 6-cm brush.

Folder for the exhibition at the Galerie St. Stephan, Vienna

Maria Lassnig, Die Feder ist die Schwester des Pinsels, Tagebücher 1943–1997, Hans Ulrich Obrist, Dumont, 2000

Provenance:
From an Austrian Collection