|
乔治·鲁奥 聪明的小丑 Le
Pierrot sage 纽约佳士得2008.11 成交价86.65万美元
作品介绍
Circus performers and the characters of the commedia dell'arte
remained Rouault's most frequent subjects throughout his career. In
the romantic melancholy of Pierrot, the archetypal sad and
self-effacing clown, the artist found a touchstone for the human
condition and a mirror that reflected the vast parade of life.
Removed from his personal preoccupation with the spectacle of
performance, Le Pierrot sage here sits in pensive introspection, as
he turns the pages of a book. He evokes what was for Rouault both a
universal pathos and, as was also the case in the work of the young
Picasso, a profoundly intimate self-portrait: "I have seen clearly
that the 'clown' was I, was us, almost all of us...We are all
clowns to a greater or lesser extent...Who would then dare say that
he has not been overwhelmed, down to the pit of his stomach, by an
immense pity?" (quoted in F. Hergott, Rouault, Barcelona, 1992, p.
15).
乔治·鲁奥 聪明的小丑 Le
Pierrot sage 局部
A compassionate figure, Le Pierrot sage engages in meditative
study, his head lowered and eyes veiled. The vulnerable disposition
of his bowed figure recalls Rouault's many images of a suffering
Christ; it has been suggested that the small, open book resting on
his lap is perhaps a Bible, whose message that through suffering
one finds a path to God resonated deeply with Rouault's Christian
faith. Indeed, the noble sanctity of this wise Pierrot evokes an
auspicious soul, one whose philosophical outlook and serenity
matched the artist's own, newfound peace in the mid-1940s. "I spent
my life painting twilights," Rouault reflected at the time. "I
ought to have the right now to paint the dawn" (quoted in J. T.
Soby, Georges Rouault: Paintings and Prints, exh. cat., The Museum
of Modern Art, New York, 1945, p. 28).
乔治·鲁奥 聪明的小丑 Le
Pierrot sage 局部
The heavily encrusted surface in La Pierrot sage is
characteristic of Rouault's lyrical, mature style and projects both
spiritual gravitas and the very weight and substance of worldly
existence. Thick, black contours set off the figure's forms against
a radiant and richly textured cerulean background. Rouault worked
predominantly in blues in the 1940s, as he concentrated his
pictorial effects and handled his paints with increased density;
here the rich color continues seamlessly into the framed painting
of the clown behind him and into the open sky beyond the window.
The artist's adept handling of light recalls the effects of stained
glass, which he studied as a young apprentice; as Soby suggests,
Rouault may have absorbed the coloristic influences of Byzantine
enamels, Roman mosaics and Coptic tapestries into his late work as
well. The warm harmonies of Le Pierrot sage are a testament to
Rouault's mastery of spiritual and emotional color and suggest the
artist's graceful acquiescence to the "ideal of art for its own
sake," which his early figures so powerfully repudiated, in the
serenity of his later years (in op. cit., p. 26). This new softness
is confirmed by the wise Pierrot, whose "contemplation and happy
sadness make one think of such figures painted by Corot for his own
pleasure in the latter days of his life" (in B. Dorival, "Rouault,
Paintings 1929-1956," L'oeuvre peint, Monte-Carlo, 1988, p.
20).
作品细节
乔治·鲁奥 聪明的小丑 Le Pierrot sage 局部
乔治·鲁奥 聪明的小丑 Le Pierrot sage 局部
乔治·鲁奥 聪明的小丑 Le Pierrot sage 局部
乔治·鲁奥 聪明的小丑 Le Pierrot sage 局部
乔治·鲁奥 聪明的小丑 Le Pierrot sage 局部
乔治·鲁奥 聪明的小丑 Le Pierrot sage 局部
乔治·鲁奥 聪明的小丑 Le
Pierrot sage 局部
画家简介
乔治·鲁奥（Georges
Rouault，1871–1958），法国画家，雕塑家，世界上最着名的宗教画家、最杰出的现代版画家之一。他在作品中用强烈的色彩和扭曲的线条描绘人类的痛苦，这些感情激烈的作品使他成为一位艺术大师。他还因非传统的版画复制技术而闻名。
乔治·鲁奥同亨利·马蒂斯一样同出古斯塔夫·莫罗门下，是莫罗最喜爱的学生。在莫罗工作室学习期间，鲁奥的绘画受到莫罗极大的影响。在莫罗去世之后，鲁奥在1901年到利居热结识了若里斯·卡尔·于斯曼，对他今后对巴黎生活景象的关注起到了重要作用。他开始放弃莫罗影响他的所有神话与宗教题材，转而用自然主义的传统来关注巴黎日常生活中的片段。鲁奥在1902年重返巴黎后能够近距离观察巴黎人的生活景象，尤其是那些终日忙碌奔波者的面貌，正如他女儿热纳维耶芙所言，鲁奥的毕生都在作品中回忆与描绘这些景象。
作品资料
Le Pierrot sage
成交总额
USD 866,500
估价
USD 500,000 - USD 700,000
signed 'G Rouault' (center right); titled 'Pierrot sage' (on
the stretcher)
oil on paper laid down on canvas
29½ x 22¼ in. (75 x 56.5 cm.)
Painted in 1943
拍卖 2256
The Modern Age: The Hillman Family Collection
纽约|2008年11月5日
拍品 17
来源
Galerie Louis Carré, Paris.
Durand-Ruel Galleries, New York.
Acquired from the above by the late owner, November
1949.
展览历史
Paris, Galerie Durand-Ruel et Cie., 1949.
Paris, Musée National d'Art Moderne, Georges Rouault,
July-October 1952, p. 30, no. 71 (illustrated, pl. XIV).
Brussels, Palais des Beaux-Arts and The Hague, Municipal
Museum, Georges Rouault, Rétrospective, 1952, p. 55, no. 51
(illustrated, pl. 43).
New York, The Museum of Modern Art; The Cleveland Museum of
Art and Los Angeles County Museum of Art, Rouault, retrospective
exhibition, 1953, p. 29.
New York University, The Grey Art Gallery, Georges Rouault,
April-May 1981.
相关文献
Cahiers d'Art, 1940-1944, nos. 15-19, p. 152
(illustrated).
L. Venturi, Georges Rouault, Paris, 1948, p. 199 (illustrated,
pl. 170).
H.W. Janson and D.J. Janson, The Story of Painting for Young
People, New York, 1952, p. 147, no. 123 (illustrated in
color).
"Retrospective Exhibition: Rouault," in Los Angeles County
Museum Bulletin of the Art Division, Summer 1953, vol. 5, no. 3, p.
31.
E.C. Munro, Golden Encyclopedia of Art, New York, 1961, p. 251
(illustrated in color).
P. Courthion, Georges Rouault, New York, 1962, p. 469, no. 442
(illustrated, p. 445).
B. Dorival and I. Rouault, Rouault, L'oeuvre peint,
Monte-Carlo, 1988, vol. II, p. 212, no. 2229 (illustrated).
E. Braun, Manet to Matisse, The Hillman Family Collection,
Seattle and London, 1994, p. 164, no. 62 (illustrated in color, p.
165).
阴山工作室
本文图片及英文资料均来自佳士得官方网站，局部细节图片及画家简介系阴山工作室所加。
━━━━━━━━━━━━━━━━━━━━━━━━━━━━━
阴山箴言 阅画千卷，不如读透一帧
|
