Michael J. Browne (contemporary) LEWIS VS TYSON - THE ART OF JUDGEMENT signed & dated '02, oil on board, 152.5 by 167.5cm., 60 by 66in. This work was privately commissioned from the Manchester artist Michael Browne, who is also responsible for the famous painting The Art of The Game depicting the former Manchester United & France footballer Eric Cantona (see lot 128), who also owns the work. The following is an account of the painting in the words of the artist himself written just before the Lewis v Tyson Heavyweight Championship bout of June 2002. ''The painting concept is taken from Michelangelo's The Last Judgement which is situated within the Sistine Chapel in Rome. I have created an image based on the central portion of the fresco. The concept has been created to express in a modern context the public images - idealised via the media and via myself - of Mike Tyson and Lennox Lewis as they prepare to face each other in one of boxing's greatest contests scheduled for June 8th 2002, in their quest for dominance of boxing's heavyweight division. The project has not only been designed to look at public image, but also to look at stereotypical issues with religion, good and evil. Tyson, branded as Minos (the Gatekeeper of Hell, taken from the lower section of the fresco) leads his entourage through a crowd of spectators who have all had an influence on his life. A punter besides him wields a bag of (Caucasian!) money hoping to gain some favour. Below, Tyson again is seated as a Muslim disposing of his flayed skin; symbolically discarding his other image (casting away of ones sins). The bulls head here is intended to symbolise a minataur (a son of Minos in Greek mythology who was said to be offered the annual sacrifice of Athenian children to save Athens from the plague). This has been done in reference to Tyson's media quote of ''eating Lewis's children'' and to demonstrate the power of expletives heard through the media. Behind Tyson a significant supportive Muslim figure to him also has his place at the Last Judgment (this being one of the broader areas where Muslims & Christians alike believe they share a similar fate). It is self acknowledged here that I ma taking a very bold stance in juxtaposing different religions in the same context. Above and behind Tyson looms Holyfield, a devout Christian (hand on big heart). He was the boxer who changed the course of Tyson's revived career. To Holyfield's left Golota, who Tyson controversially beat, reaches out, and to his right Don King takes an outside position as a figure forced to the peripheries of the main event. Immediately to Tyson's right are women of controversial significance in his life, two of them are sheepishly cloaked, one with a little blood on her hands. Lennox Lewis here is shown in a straightforward manner, reflective of his public persona, seen with his entourage. But as his public persona suggests little is known of the women in his life - few scars. Behind, Lennox's mother Violet who does play a significant role in his life is reaching to his shoulder. Above Violet, Hassim Rahman, a Muslim, leans forward as a reminder of a recent controversial loss in Lewis's career. To Rahman's left a sparring partner of Lewis prays for his loss in the bout (he sparred with ill-feeling towards Lewis). Lewis's front central image is intended to depict him holding a symbolic ladder representing his career ascension to the top. Figures like the one cloaked in red (behind Lewis) have been floored in the process. The figures depicted as angels in Michelangelo's The Last Judgement have been portrayed here to symbolise the media and audience, waving pieces of paper like reporters take information and transport it. These figures are also intended to be relative to Tyson (as well as the event) - in the form of a serpent around him, which conveys the varied interactions some people have with him. In conclusion, as well as record of the Lewis v Tyson main event the painting draws attention to double meanings, our different perspectives & conflicts of interest; from much debated images of God to private and public identity and also the media's naked exposure of peoples lives.'' Michael Browne, 27th May 2002.
£10,000 - £15,000
Michael J. Browne (contemporary) LEWIS VS TYSON - THE ART OF JUDGEMENT signed & dated '02, oil on board, 152.5 by 167.5cm., 60 by 66in. This work was privately commissioned from the Manchester artist Michael Browne, who is also responsible for the famous painting The Art of The Game depicting the former Manchester United & France footballer Eric Cantona (see lot 128), who also owns the work. The following is an account of the painting in the words of the artist himself written just before the Lewis v Tyson Heavyweight Championship bout of June 2002. ''The painting concept is taken from Michelangelo's The Last Judgement which is situated within the Sistine Chapel in Rome. I have created an image based on the central portion of the fresco. The concept has been created to express in a modern context the public images - idealised via the media and via myself - of Mike Tyson and Lennox Lewis as they prepare to face each other in one of boxing's greatest contests scheduled for June 8th 2002, in their quest for dominance of boxing's heavyweight division. The project has not only been designed to look at public image, but also to look at stereotypical issues with religion, good and evil. Tyson, branded as Minos (the Gatekeeper of Hell, taken from the lower section of the fresco) leads his entourage through a crowd of spectators who have all had an influence on his life. A punter besides him wields a bag of (Caucasian!) money hoping to gain some favour. Below, Tyson again is seated as a Muslim disposing of his flayed skin; symbolically discarding his other image (casting away of ones sins). The bulls head here is intended to symbolise a minataur (a son of Minos in Greek mythology who was said to be offered the annual sacrifice of Athenian children to save Athens from the plague). This has been done in reference to Tyson's media quote of ''eating Lewis's children'' and to demonstrate the power of expletives heard through the media. Behind Tyson a significant supportive Muslim figure to him also has his place at the Last Judgment (this being one of the broader areas where Muslims & Christians alike believe they share a similar fate). It is self acknowledged here that I ma taking a very bold stance in juxtaposing different religions in the same context. Above and behind Tyson looms Holyfield, a devout Christian (hand on big heart). He was the boxer who changed the course of Tyson's revived career. To Holyfield's left Golota, who Tyson controversially beat, reaches out, and to his right Don King takes an outside position as a figure forced to the peripheries of the main event. Immediately to Tyson's right are women of controversial significance in his life, two of them are sheepishly cloaked, one with a little blood on her hands. Lennox Lewis here is shown in a straightforward manner, reflective of his public persona, seen with his entourage. But as his public persona suggests little is known of the women in his life - few scars. Behind, Lennox's mother Violet who does play a significant role in his life is reaching to his shoulder. Above Violet, Hassim Rahman, a Muslim, leans forward as a reminder of a recent controversial loss in Lewis's career. To Rahman's left a sparring partner of Lewis prays for his loss in the bout (he sparred with ill-feeling towards Lewis). Lewis's front central image is intended to depict him holding a symbolic ladder representing his career ascension to the top. Figures like the one cloaked in red (behind Lewis) have been floored in the process. The figures depicted as angels in Michelangelo's The Last Judgement have been portrayed here to symbolise the media and audience, waving pieces of paper like reporters take information and transport it. These figures are also intended to be relative to Tyson (as well as the event) - in the form of a serpent around him, which conveys the varied interactions some people have with him. In conclusion, as well as record of the Lewis v Tyson main event the painting draws attention to double meanings, our different perspectives & conflicts of interest; from much debated images of God to private and public identity and also the media's naked exposure of peoples lives.'' Michael Browne, 27th May 2002.