拍品 59
  • 59

喬治.莫蘭迪

估價
1,200,000 - 1,800,000 USD
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招標截止

描述

  • 《靜物》
  • 款識:畫家簽名Morandi (左下)
  • 油畫畫布
  • 8⅝ x19¼英寸
  • 22x49公分

來源

P.羅里諾,羅馬
義大利羅馬私人收藏
現藏家購自上述人士

展覽

「威尼斯雙年展」,威尼斯, 1954年
「第四屆聖保羅雙年展」,聖保羅,巴西聖保羅現代美術館, 1957年,圖版27

出版

蘭伯托.維塔里,《莫蘭迪作品總目》,第二册,米蘭,1977年出版,品號976,圖版無頁次
蘭伯托.維塔里,《莫蘭迪作品總目》,第二册,米蘭,1994年出版,品號976,圖版無頁次

Condition

This painting is in excellent condition. Original canvas. Pigments are intact. Surface is fresh and lively. There is a one-inch slight tenting in the canvas about two inches from the extreme left edge. Under UV light no inpainting is apparent.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

拍品資料及來源

Natura morta is a brilliant example of Morandi's mastery of the still-life, and of the virtuosity with which he combined the simplest forms and a nearly monochrome palette into a perfectly balanced composition. The theme of still-life, which remained central to Morandi's art throughout his career, was always guided by his concern to bring together space, light, color and form, and his great achievement was to reconcile this traditional genre with the abstract aesthetic of his own time. Focusing his artistic efforts on a limited range of subjects, he was able to perfect these pictorial concerns to their purest expression.

Morandi's oeuvre introduces us to a world where silence reigns and time is suspended. There is an overwhelming universality to his work: these bottles, pitchers and jars are containers that have been used since time began. Marilena Pasquali has argued that 'time in Morandi is a primary, ineluctable dimension: it is duration, first and foremost, and then invention, gamble, daring. In the reality of phenomena, he seeks the lasting, the unchanging, the illusion of an immobile time. Change, continuous and unstoppable, is in him knowingly as he reflects himself in the object in his studio, making them each time different because it is he, instant by instant, who is different and thus sees what is in front of him with new eyes' (quoted in Giorgio Morandi, Through Light (exhibition catalogue), Imago Art Gallery, London, 2009, p. 22).