Untitled (St. Elizabeth)

Identification of the Artwork and Artist

We are looking at Untitled (St. Elizabeth), a work from 2009 by the artist Rudolf Stingel. This piece is a relatively intimate object, measuring 33 x 40 cm. It belongs to a period where Stingel’s practice moved toward a profound investigation of how light interacts with physical matter.

Born in Merano, Italy, Rudolf Stingel has developed a practice that often blurs the boundaries between the painted surface and the space it occupies. In this specific work, he moves away from the grand scale of his architectural installations to focus on a more contained, meditative presence. The work invites a closer, more personal proximity to the canvas.

While this piece is a singular moment in his development, it shares a conceptual lineage with other works from the same year, such as:

• Untitled (St. John), 2009
• Untitled (St. Florian), 2009

Visual Composition and Subject Matter

In this monochrome work, the visual field is dominated by a pervasive silver. This choice of palette creates a sense of luminous stillness, a quietude that invites a slower pace of observation. The surface does not rely on a variety of colors to command attention, but rather on the subtle shifts within this single, shimmering tone.

The composition draws its conceptual weight from the iconography of Saint Elizabeth. Rather than providing a literal depiction of the figure, the work uses texture and light to suggest her essence. There is a deliberate tension between what is visible and what is hidden. The use of gauze within the layers acts as a symbol of concealment, creating a sense of something obscured beneath the metallic surface. This layering invites a contemplation of the space between the seen and the unseen.

Technique and Material Application

The creation of this work involves a ritualistic, layered process that prioritizes the physical properties of the medium. Stingel begins by applying a thick base coat of silvery paint directly onto the canvas. Once this foundation is set, he introduces gauze, positioning the translucent fabric meticulously across the surface. This gauze acts as a crucial intermediary, absorbing pigment and creating subtle variations in tone that would be impossible to achieve through simple brushwork alone.

After the gauze is placed, Stingel uses a spray gun to deposit a generous layer of silver paint over the fabric, effectively sealing the layers together. The true character of the piece is revealed only when the gauze is removed. This step unveils a richly textured surface, where the interplay of light and shadow highlights the material depth created by the previous layers. It is a deliberate manipulation of materiality, using the physical presence of the paint and fabric to generate a specific atmosphere of stillness.

Related Works by Rudolf Stingel

To understand the lineage of this piece, one might look toward other works from the same period. In 2009, Stingel produced several pieces that share a similar preoccupation with silvered surfaces and the interplay of light. These works often exist in dialogue with one another, exploring how texture can suggest a presence without relying on traditional figurative representation.

Two notable examples from that year are Untitled (St. John) and Untitled (St. Florian). Both paintings were created in 2009 and are currently held in the collection of the Palazzo Grassi in Venice. While they share a common year of origin, each piece offers a slightly different approach to the way gauze and spray paint interact with the canvas. In Untitled (St. John), the focus shifts toward the tension between abstraction and the suggestion of a figure, whereas Untitled (St. Florian) emphasizes the imprint of the material upon the surface.

• Untitled (St. John), 2009
• Untitled (St. Florian), 2009