Jan Lebenstein (1930 - 1999) "L'Apogée," 1969 oil/canvas, 81 x 64 cm Signed and dated at the bottom: 'Lebenstein 69& == sync, corrected by elderman == @elder_man on the reverse a sticker from the AGRA-ART S.A. auction house and a stacker describing the work ID: 160197 Taxes and fees - In addition to the hammer price, the successful bidder agrees to pay us a buyer's premium on the hammer prices of each lot sold. On all lots we charge 20 % of the hammer price. - To this lot we apply 'artist&s owe right' (&#xx27;droit de suite&#xi27;) fee. Royalties are calculated using a sliding scale of percentage of the hammer price. Provenance private collection, Paris More information The depicted painting of Apogee (from Fr.Apogeum), was painted in 1969 by John Lebenstein. It represents two connected surreal beings. The first figure in the upper part of the central composition resembles a demon. It has a bull's mouth, horns and wings surrounding the figure below. It was painted with dark color, almost completely black. At first glance, it is associated with the power of evil and darkness. It's surrounded by a red field that looks like hell. The second being contrasts strongly with the first despite its gray color. She's much more human, natural and delicate. It was presented on a brown background that probably symbolizes the earth. So it can be interpreted as a human form. Opposite characters intertwined in the image symbolize the coexistence of both forces in one person. The image can be interpreted as a manifestation of evil existing in a man who exercises control over it or as a general symbolism of dualism between good and evil and the complexity of the human soul. The artist often experimented with subjects related to human nature and its dark aspects, entering into the depths of human consciousness. His art is thus often interpreted in the context of surrealism, even though he was not a formal member of this trend. Lebenstein introduces an existential tone, meditating on the condition of man. The artist's quote: "Even as a child, I was able to completely separate myself from the outside world and focus on my inner self (...). I didn't care much about school, sports. I just wanted to find an angle where no one would bother... and lubricate, i.e. mashing on pieces of paper, confirms his surreal nature as an artist with a conscious departure from external reality, logic and rationalism to explore subconsciousness, dreams, dreams and fears and desires. It is also worth considering the history of the creator in order to better understand the context of his works. At the age of 10, a war broke out, and the artist's daily life had military, scouting, and fighting. Already at a young age, as mentioned above, he painted and preserved paintings of the Apocalypse and war reality on paper, sketching the fighting people. During the war, his father was murdered, and his brother was shot. Despite his grief, he turned to an art that probably became a way for him to deal with trauma. He also spent several months in detention in the underground in Olsztyn. His work thus reflects to some extent the effects of the cruelty of war, focusing on human psyche. During his career, he was an illustrator of literary works, such as Gustav Herling-Grudziński's stories, and the Animal Farm of George-Orwell, and won the Grand Prix at the 1st International Youth Biennial in Paris for a series of paintings. These were images of symmetrical hybrid forms balancing at the borders of man, animal and symbol. These figures are lonely and isolated, which was intended to highlight the loneliness of the individual in the world. In the picture presented by these beings, locked together in their own structure, there are two, which emphasizes the interplaying factors painted in unity. The expressive lines combined with simplified geometric shapes and monochromatic colors are characteristic of Lebenstein's work. They dominate the colors of the earth: black, white, bronze and gray. The figures bring to mind archaic images of people and deities, becoming totems symbolizing mental and emotional states. The deformities of the characters are an expression of the suffering of the body and spirit, and the grotesque and symbolism of the works induces existential reflection. Lebenstein thus shaped his own mythology, giving his works a unique and recognizable style and creating a personal artistic path.