拍品 148
  • 148

JESÚS RAFAEL SOTO | Gran vibración azul y negra

估價
700,000 - 900,000 USD
已售出
招標截止

描述

  • JESÚS RAFAEL SOTO
  • Gran vibración azul y negra
  • signed, titled and dated 1999 on the reverse
  • acrylic on wood panel with painted metal
  • 48 3/4 by 113 1/4 by 5 5/8 in. 123 by 288 by 14.5 cm.

來源

Galería de Arte Ascaso, Valencia
Private Collection, Miami (acquired from the above)

展覽

Caracas, Galería de Arte Ascaso, Soto Dos Mil, November 1999 - January 2000

拍品資料及來源

"It might be said that all of Western painting has been nothing but an attempt to deceive the eye to succeed, by a series of tricks, in making a flat surface seem deep, to make what is static simulate movement and make the opaque seem luminous and transparent. The old Mannerist painters took pleasure in the ingenious game of simulating door or cupolas that did not exist, in order to deceive the spectator. In a certain sense all painting, from the Renaissance to Cubism, has been nothing but a refined form of this trompe-l'oil. It was necessary to create an autonomous object which would not deceive and which would simulate neither light nor movement nor space, but invade it or really create it.  This was the task of the kinetic artists, and within that undertaking the Venezuelan Jesus Soto is one of those who has contributed most toward creating that new dimension of spaces, forms, and forces."

Arturo Uslar Pietri in Alfredo Boulton, Soto, Caracas 1973, p. 210 

Venezuelan artist Jesús Rafael Soto developed an original kinetic vocabulary with origins in serialization which in turn, resulted in optical vibrations that modify both space and the viewer’s perception—a defining characteristic of Latin American abstraction.   

 

Throughout a career that extended over five decades, Soto experimented with chromatic planes and the transformable qualities of color, exploring the relationships between parallel lines and the figure and between background and foreground, in order to generate movement in paintings, three-dimensional constructions, and reliefs.

 

From the beginning, Soto’s Vibraciones were understood as paintings in which he integrated movement into the two-dimensional surface through a structural superimposition of lines, suspended elements, and geometric figures that generated optical vibrations as the viewer moved. The present work, Gran vibración azul y negra is an outstanding large scale example of this widely admired and lasting series.  

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