Luc And Ludivine Get Married (pair 08)
Luc And Ludivine Get Married (pair 08)
Signed Print
Julian Opie
Price data unavailable
AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.
There aren't enough data points on this work for a comprehensive result. Please speak to a specialist by making an enquiry.
Medium: Digital Print
Edition size: 10
Year: 2007
Size: H 39cm x W 44cm
Signed: Yes
Format: Signed Print
Track this artwork in realtime
Watch artwork, manage valuations, track your portfolio and return against your collection
Track auction value trend
Auction Results
| Auction Date | Auction House | Location | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| September 2012 | Sotheby's Online | United Kingdom | |||
| September 2012 | Sotheby's Online | United Kingdom | |||
| March 2012 | Sotheby's Online | United Kingdom |
Meaning & Analysis
Luc And Ludivine Get Married (pair 08) is a work by Julian Opie from his 2007 Luc And Ludivine Get Married series that shows two individual portraits of a man and woman. Presented in elliptical frames and blown domed glazing, the man faces away from the viewer, showing only the back of his head and the woman is depicted in profile facing left.
Luc And Ludivine Get Married (pair 08) is part of a 16-part series, each work showing the same two figures but in a variation of pose combinations. Each work in the series is therefore unique and the series as a whole represents Opie’s desire to repeat a single idea many times to explore variation on pose and composition to its full potential. This particular series is indicative of Opie’s fascination with portraiture and people in his repetition of the subject.
Opie started drawing people using the old Letraset tracing paper over photographs but explains: 'I consciously looked around for a way in which I could draw people and it started by buying the aluminium symbols for male and female toilets and I looked at them and thought I could combine, as I often do, the impersonal with the personal.' Opie’s mechanical repetition of the subject reflects this tension between the impersonal and personal.
