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PIERRE SOULAGES | Peinture 202 x 143 cm, 16 novembre 1966
估價
800,000 - 1,200,000 EUR
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招標截止
描述
- Pierre Soulages
- Peinture 202 x 143 cm, 16 novembre 1966
- signed, titled and dated 16 nov 66 on the reverse
- oil on canvas
- 202 x 143 cm; 79 ½ x 56 ¼ in.
- Executed in 1966.
來源
Galerie de France, Paris
Dr Ronald Tallon (acquired in 1968)
Thence by descent
Dr Ronald Tallon (acquired in 1968)
Thence by descent
展覽
Paris, Musée National d'Art Moderne, Soulages, 1967; catalogue, illustrated
Dublin, Royal Dublin Society, Rosc 67, The Poetry of vision, 1967; catalogue, illustrated
Dublin, Royal Dublin Society, Rosc 67, The Poetry of vision, 1967; catalogue, illustrated
出版
James Johnson Sweeney, Pierre Soulages, 1972, p. 156, no. 102, illustrated in colour
Pierre Encrevé, Soulages, L'Oeuvre Complet, Peintures Volume II, 1959-1978, Paris, 1995, p. 163, no. 592, illustrated in colour
Pierre Encrevé, Soulages, L'Oeuvre Complet, Peintures Volume II, 1959-1978, Paris, 1995, p. 163, no. 592, illustrated in colour
Condition
The work is executed on its original canvas and is not relined. There is a light dot of restoration at the extremity of the upper left corner. A web of light superficial cracks has been consolidated in the white area in the upper right quadrant. Under UV light, there is a light retouching visible at the extremity of the lower left corner. This work is in very good condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
拍品資料及來源
Caption comps:
Colette et Pierre Soulages dans l'atelier de la rue Galande, en 1964. © ADAGP, Paris 2018 © Photo: Wölbing-van Dyck
In the middle of the 1960s, Soulages’s painting took a new direction. It gained in fluidity, in flexibility and lyricism. While, until the end of the 1950s, it was still relatively hieratic, it became more and more atmospheric.
As Jean Cassou, the director of the Musée national d’Art moderne de Paris wrote at the time in a text entitled “Evolution de l’art de Pierre Soulages” published in Art International, gigantic patches of a smooth and substantial black now invade the canvas. “It is no longer light and form that play out the piece, but scale. A whole other passion exerts itself, not by contrast, but by irresistible displacements.”
Peinture 202 x 143 cm, 16 Novembre 1966 marvelously illustrates this mutation in Soulages’ work towards something less authoritarian, more versatile and more fluid. In this monumental painting, light no longer comes from the background, but emerges through a subtle play of transparency. It comes from black itself, reflecting and spreading out in large planes that recall resin or tar. Gestural abstraction has supplanted geometric abstraction. Just as lateral or elongated forms have supplanted the scrapings from the early 1960s.
The years 1963-1967 were also those of the great group exhibitions, as Pierre Encrevé explains, author of the artist’s catalogue raisonné, in the Volume II of Soulages’s complete works. These large black planes establish a new relationship between black and white in Soulages’s works which are thus shown in the most important museums of the world. At the Venice Biennale, the Documenta in Kassel, the Tate Gallery in London the Museum of Fine Arts in Houston and at the Musée national d’art moderne de Paris of course, where Peinture 202 x 143 cm, 16 Novembre 1966, made a strong impression.
Quote
The random is an associate (…). I make sure that it can offer me something. I develop strategies that allow it to do so. But it is always me who ultimately decides. I accept or refuse its proposals, I evaluate intuitively its limits, if they have a future or not.
Pierre Soulages
Colette et Pierre Soulages dans l'atelier de la rue Galande, en 1964. © ADAGP, Paris 2018 © Photo: Wölbing-van Dyck
In the middle of the 1960s, Soulages’s painting took a new direction. It gained in fluidity, in flexibility and lyricism. While, until the end of the 1950s, it was still relatively hieratic, it became more and more atmospheric.
As Jean Cassou, the director of the Musée national d’Art moderne de Paris wrote at the time in a text entitled “Evolution de l’art de Pierre Soulages” published in Art International, gigantic patches of a smooth and substantial black now invade the canvas. “It is no longer light and form that play out the piece, but scale. A whole other passion exerts itself, not by contrast, but by irresistible displacements.”
Peinture 202 x 143 cm, 16 Novembre 1966 marvelously illustrates this mutation in Soulages’ work towards something less authoritarian, more versatile and more fluid. In this monumental painting, light no longer comes from the background, but emerges through a subtle play of transparency. It comes from black itself, reflecting and spreading out in large planes that recall resin or tar. Gestural abstraction has supplanted geometric abstraction. Just as lateral or elongated forms have supplanted the scrapings from the early 1960s.
The years 1963-1967 were also those of the great group exhibitions, as Pierre Encrevé explains, author of the artist’s catalogue raisonné, in the Volume II of Soulages’s complete works. These large black planes establish a new relationship between black and white in Soulages’s works which are thus shown in the most important museums of the world. At the Venice Biennale, the Documenta in Kassel, the Tate Gallery in London the Museum of Fine Arts in Houston and at the Musée national d’art moderne de Paris of course, where Peinture 202 x 143 cm, 16 Novembre 1966, made a strong impression.
Quote
The random is an associate (…). I make sure that it can offer me something. I develop strategies that allow it to do so. But it is always me who ultimately decides. I accept or refuse its proposals, I evaluate intuitively its limits, if they have a future or not.
Pierre Soulages