拍品 20
  • 20

吉諾∙撒維里尼 | 《靜物》

估價
400,000 - 600,000 GBP
已售出
466,000 GBP
招標截止

描述

  • Gino Severini
  • 《靜物》
  • 款識:畫家簽名G. Severini(右下)
  • 拼貼、瓦楞卡紙、水粉、粉彩及蠟筆紙本貼於畫板上

來源

讓·凡·貝漢,日內瓦(約1928年購自藝術家,至少收藏至1976年)
帕奧羅·巴達奇
馬里奧·華倫天奴,拿波里(1985年購自上述藏家)
此後由家族傳承至現藏家

展覽

莫斯科,西方藝術博物館,〈當代法國藝術〉,1928年,品號95(紀年1913)

羅蒙,羅蒙美術館,〈在瑞士的吉諾·撒維里尼〉,1974 年,品號3

多蒙特,東牆博物館,〈吉諾·撒維里尼〉,1976年,品號39或40

亞歷山德里亞,庫緹卡王宮,〈吉諾·撒維里尼,從1916至1936年〉 ,1987年,品號21,圖錄載彩圖

出版

丹尼耶娜·芳緹,《吉諾·撒維里尼,專題目錄》,米蘭,1988年,品號352,291頁載圖,339頁載彩圖

拍品資料及來源

'He was - and this was his originality, even, doubtless, his greatness - the bridge between Futurism and Cubism' (Bernard Dorival, quoted in Futurism (exhibition catalogue), Tate Modern, London, 2009, p. 242). Severini’s pioneering geometric compositions formed part of the artist’s fervent creative research into the language of Cubism. In the present work, numerous trompe-l’œil effects are achieved through the use of motifs that have now become icons of cubist art: a fruit bowl with grapes and peaches, and tossed out playing cards all set on a schematic table. The pasted papers which make up the composition are intercalated so intimately that it is impossible to sort them out or even to assign them differing status. Together they create a beautifully serene and harmonious patterning, a mixing and matching of cut-out and painted-in figurative subjects.

The series of still-lifes Severini executed in 1916-18 charter a remarkable development in his work towards a Cubist construction of the composition. The Futurist movement as an artistic entity had come to an end with the outbreak of the war in 1914 and in the period that followed Severini developed a planer treatment of form based on proportionate relations explored by the Cubist artists. Severini focused his art on what he called the 'universal movement' through Cubism, in which he constructed and deconstructed physical space in a rational and geometrical practice. In his autobiography Severini noted how he began to abandon the study of objects and figures in motion after 1914, becoming drawn almost automatically towards solid forms and to the concept of the construction of the composition, and ultimately creating a synthesis between them: 'My idea, which was shared by many Cubists and approved by Matisse himself, was to carry artistic expression to a level that reconciles the desire for extreme vitality (dynamism) of the Futurists with the intention of construction, of classicism, and of the style used by Cubists' (G. Severini, La Vita, Rome, 1983, p. 208).
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