01 Marine Work - Elger Esser's Nice, with Footnotes #376

Elger Esser (German, born 1967)
Nice
Chromogenic print
71¼ by 54⅜ in. (181 by 138.1 cm.)
Private collection

Sold for 12,500 USD on April 3, 2020

Nice is the prefecture of the Alpes-Maritimes department in France. Located on the French Riviera, the southeastern coast of France on the Mediterranean Sea, at the foot of the French Alps, Nice is the second-largest French city on the Mediterranean coast and second-largest city in the Provence-Alpes-Côte d'Azur region after Marseille. 

The clear air and soft light have particularly appealed to notable painters, such as Marc Chagall, Henri Matisse, Niki de Saint Phalle and Arman. Their work is commemorated in many of the city's museums. More on Nice

Elger Esser is a German artist known for his lyrical photographs which recall the works of early photographers as well as 19th-century painters such as Caspar David Friedrich. Characterized by their golden light, archaic subject matter, and mellowed sublimity, Esser draws inspiration from the soft palette of antique postcards, as evinced in his work Nocturnes à Giverny (2013). “I am interested in capturing and preserving subjective memories, time and tranquility,” the artist explained. 

Born on May 11, 1967 in Stuttgart, Germany, Esser grew up in Rome but returned to Germany as a young man to work as a commercial photographer. In 1991, he enrolled in the Kunstakademie Düsseldorf, where he studied under Bernd and Hilla Becher. Fundamentally different from the famed members of the Düsseldorf School, including Andreas Gursky, Esser’s work espouses a craftsman-based heritage rather than a conceptual deconstruction of the medium. Currently living and working in Düsseldorf, Germany, Esser’s works are in the collections of the Solomon R. Guggenheim Museum in New York, the Rijksmuseum in Amsterdam, and the Centre Georges Pompidou in Paris, among others. More on Elger Esser




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01 Marine Work, GEORGE SAVARY WASSON's USS Brooklyn at the Battle of Santiago de Cuba, With Footnotes, #320

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