Koller View 3/20

8 Transgeometric forms Pablo Palazuelo (1915–2007) had an unparalleled influence on Spani sh non-figurative art in the second half of the 20th century. His works are marked by a pronounced connecti on with nature, albeit far removed from traditional approaches to landscape painting. In his life's work the artis t demonstrates his fascination with the endless variety of geometric forms. Rather than perceiving the landsca pe as a part of the environment that en- closes man, Palazuelo views it in its entirety, focusing his attention on th e essence of the form itself, not on what it represents. His structures grow organically and spread rhythmically o ver the canvas. In addition, he combines geometric expression with the emotional sensation that he derives f rom nature and shows in his paintings. Palazuelo calls this "transgeometry". Untitled. 1964. Gouache on wove paper. 61.8 × 41 cm. Sold for CHF 32 0 00 New self-awareness With this se lf-portrait among the sparse furnishings of his studio, Hans Berger (1882–1977) presents him- self as an a rtist of a new generation. Trained as an architect, beginning in 1908 he changed direction and followed in the footsteps of his great role models – the German Expressionists and the French Fauves – and soon those of Ferdinand Hodler (who was also one of the first to buy Berger's paintings). Berger adopts and transfo rms the style and dynamics, the spontaneity and not least the colour palette of the new trends. Self-portra its such as this one play a central role in Berger's oeuvre; they are testimonies to the ongoing search for identity. Appreciation for artists such as Berger, whose work was long obscured by his more fa- mous cont emporaries, has increased greatly in recent years, and this painting set a world auction record for the artist in our 3 July auction. Self-portra it with stove. 1909. Oil on canvas. 126 × 92.5 cm. Sold for CHF 100 000