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Verso on canvas signed, dated and titled 'Paar (Blinder) 1974 Antes' with information on materials and dedication. With his famous "Kopffüßler", Horst Antes reduces the human body to an apparently archaic minimum. As Ulrike Lehmann explains, this pictorial abbreviation serves him as a means of modulating relevance: "Antes abandons the valid proportion pattern in order to emphasize body parts which are of importance to him on a subjective level and which symbolise a function on an objective level. For him, it is not about observation but about the depiction of bodies which can convey a subjective degree of importance. So it is not the subjective human dimension but the subjective view of the dimensional ratio of the body and its functions that are of interest. A comparison by Antes may be cited here, in which he describes the extent of a tangibly diseased tooth as a dimensional ratio. Because of the pain the tooth causes, it appears much larger than usual. The size of the body parts is determined by the dimension of their intended function. This is why eyes appear twice in Antes's figures, why feet or noses are particularly large or why ears don't exist at all. Individual body parts are not brought together according to the rules of conformity but brought to mind as individual parts." (Ulrike Lehmann, Zwei Aphorismen zu Antes Bilderwelt, in: Ulrike Lehmann, Horst Antes, Druckgraphik, Farbige Blätter, Zeichnungen, Collagen und Skulpturen, Verzeichnis der Bestände Sammlung Wolf und Ursula Hermann, exhib.cat. Sprengel Museum Hannover, Hannover 1989, p.15) Aquatec on canvas Framed