拍品 16
  • 16

布萊斯·馬登 | 《巴塞爾素描(窗戶習作第1、2、4、5號)》

估價
550,000 - 750,000 GBP
Log in to view results
招標截止

描述

  • 《巴塞爾素描(窗戶習作第1、2、4、5號)》
  • 款識:藝術家簽名、紀年83並各自標記#1、#2、#4、#5
  • 墨紙本,共四部分
  • 每部分:76.2 x 55.9公分,30 x 22英寸

來源

安東尼·多菲畫廊,倫敦
傑森·麥科伊畫廊,紐約
達里爾·Y·哈尼施,紐約
私人收藏,紐約
瑪麗·布恩畫廊,紐約
現藏家1998年購自上述畫廊

展覽

紐約,瑪麗·布恩畫廊,〈格奧爾格·巴塞利茲、約瑟夫·博伊斯、布萊斯·馬登〉,1985年10月

倫敦,安東尼·多菲畫廊,〈布萊斯·馬登:油畫及素描近作〉,1988年4-5月,頁碼不詳,品號26-29,載圖

洛桑,FAE當代藝術博物館,〈館藏精選〉,1991年6-10月,99頁載彩圖

出版

琵拉爾·維拉達斯,〈雅趣〉,《紐約時報》,2000年10月29日,77頁載彩圖

Condition

null
我們很高興為您提供上述拍品狀況報告。由於敝公司非專業修復人員,在此敦促您向其他專業修復人員索取諮詢,以獲得更詳盡、專業之報告。

準買家應該檢查每款拍品以確認其狀況,蘇富比所作的任何陳述均為專業主觀看法而非事實陳述。準買家應參考有關該拍賣的重要通知(見圖錄)。

雖然本狀況報告或有針對某拍品之討論,但所有拍賣品均根據印於圖錄內之業務規則以拍賣時狀況出售。

拍品資料及來源

Brice Marden’s Basel Drawings (Window Studies No. 1, 2, 4, 5) present a hushed, numinous rumination on the relations between space, gesture, structure and light. Quadripartite, the work comprises four rectangular sheets arranged like a window: the upper two panels are quadrisected by inky lines of red and green, while the lower pair is divided into nine equally-sized parts. Commissioned by the Basel Cathedral Stained Glass Trust at the end of 1977, Marden created these studies as proposals for the windows of Basel Cathedral. Occupying the majority of his time from 1978 to 1985, the commission acted as an artistic turning-point for Marden, who used the project as a vehicle by which to explore his interests in alchemy, the self, and the universe’s primordial foundations. Just as in works like For Hera (1977), Annunciation (1977-8) and Thira (1980), Marden mapped the intersections of the earthly and the spiritual. Representing, by turns, the alchemical bases of earth, air, fire and water, these coloured lines configure Marden’s take on humanity’s origin.

Marden’s style resides in the uncanny interstice between the mechanical and the expressive; each facet serving as a perfect foil for the other. An apparently depersonalised formalism is rendered via ink blots, irregularities and haptic traces. If Donald Judd made a point of rejecting Minimalism’s claim to spirituality, Marden identified a poignancy precisely in the failure of minimal art to remain devoid of it: “the rectangle, the plane, the structure, the picture”, he explains, “are but sounding boards for a spirit” (Brice Marden cited in: Exh. Cat., London, Anthony d’Offay Gallery, Brice Marden: Recent Paintings & Drawings, 1988, np). Enacting neither the reproduction of visual reality, nor the expression of emotion, nor the delivery of pure abstraction, Marden’s work effectively achieves all three of these functions. Indeed, in certain of his monochromes such as The Dylan Painting (1966), Marden deliberately leaves a small strip of the work unpainted. Drips of the paint from the surface above accumulate in this space, left bare to remind the viewer of abstraction’s bodily, human origin.

The present work was immediately followed by a series of Window Paintings, which also formed part of the Basel Cathedral commission. Part of the power of these works, as well as of Basel Drawings (Window Studies: #1, 2, 4, 5), derives from their realising the intellectual human urge – never quite understood, never quite satiated – to represent the transcendent. As John Yau expresses, the works “suggest a movement from the earthly to the spiritual, without arriving at an image of immateriality… From the outset of his career, Marden accepted the inevitability of being continuously thwarted, of never being able to arrive at a purely spiritual realisation. His response was to make fully considered proposals, which remain open and incomplete. It is this incompleteness, the ache of it, that haunts the paintings, the artist, and the viewer” (John Yau cited in: Ibid., n.p.).