Lot 611 R

After the early work, with its sombre assemblages and shooting pictures characterised by a certain agressiveness and drama, Niki de Saint Phalle moved towards a softer, humourous artistic expression with her 'Nanas' from the mid-1960s. Her voluptuous sculptures of female figures were initially made of wool and material over a wire frame. In 1967 she discovered polyester as a material for the 'Nanas' which grew larger over time and were designed as outdoor sculptures. Occasionally working with a partner, as with the present work 'Baigneurs', the sculptures constantly radiated an extraordinary sensuality and joie de vivre.

''Her 'girls' altogether got larger, grew, and the once soft, irregular structure of the surface was tightened, became smooth and firm. Clear contours and precisely applied areas of vividly coloured patterns were characteristic for the 'Nanas'. Their skin colour was not defined, it is found in many varied powerful colours. (…) It would be obvious to describe Niki de Saint Phalle as a feminist artist, the title of whose 1967 retrospective 'Les Nanas au pouvoir' formulated women's claim to power (…) But far from it. Just as she rejected any form of racism, she also rejected the segregation or categorisation of male and female''. (Bettina Scheeder, Die 'Nanas', in: Brigitte Reinhardt (ed.), Niki de Saint Phalle, Love, Protest, Fantasy, exhib.cat. Ulmer Museum et.al., Ostfildern-Ruit 1999, p.36).