A portraitist of imaginary people; the author of the original artistic method of “Artificial Realism,” and the creator of an inimitable style, in which irony and the grotesque are seamlessly fused together with the mastery of a draftsman and the genius of a colorist. These can all be aptly used to describe the hero of our project: American artist George Condo, who is one of the most significant figurative artists of the present.
Practically before our eyes, George Condo was elevated to the rank of General in the hierarchy of contemporary art. His works are the pride of the most prestigious museums and private collections in the world, including the MoMA, NY, the Solomon R. Guggenheim Museum, NY, and the Whitney Museum of American Art, NY.
Among his admirers are Princess Caroline of Monaco, jewelry magnate Laurence Graff, Ringo Starr, Leonardo DiCaprio, Eli Broad, Dakis Joannou, and many other renowned cultural and business figures.
George Condo was born in 1957. It must be noted that even while studying art history at a university in Massachusetts, it was obvious that painting was his calling. In 1983, Condo moved to Germany in order to study traditional European painting and become acquainted with the contemporary European art scene.
In 1999, Condo received the Academy Award in Art from the American Academy of Arts and Letters. In 2000, a documentary directed by John McNaughton entitled “Condo Painting” was released. Condo was also invited to be a professor at several Universities.
One of the distinct characteristics of Condo’s art is its diversity and versatility. Within the painterly theater that he creates, one can often discover hidden references to the most recent political and corporate scandals. His personages consist of mythical heroes, who are accompanied by their servants and housemaids that are portrayed in a cubist style, along with demonic girlfriends and witches, insane saints and heavily boozed supermen. Time is determinedly non-linear in his paintings. For example, cavemen effortlessly transform into heroes of modern times and, conversely, Roman legionnaires and prehistoric personages coexist with our contemporaries on one canvas.
Though Condo forbids direct quotation, it is still possible to trace a distinct line through his work that indicates his devotion and intimate knowledge of the paintings of the old masters, artists from L’Ecole de Paris, as well as Italian painting from the 1920-1930’s. History will surely place everything in order. George Condo, however, is that rare occurrence, in which everything is already clear. Our generation will not question the fact that George Condo’s creative work is no less innovative and interesting than was the work of Pablo Picasso for his contemporaries and followers.