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Victor Pasmore (1908-1998)
Artist's Resale Right ("Droit de Suite"). Artist's… Read more
Victor Pasmore (1908-1998)

Line and Space No. 21

Details
Victor Pasmore (1908-1998)
Line and Space No. 21
oil and gravure on board, in the artist's frame
overall: 48 x 48in. (122 x 122cm.)
Painted in 1964
Provenance
Marlborough Fine Art, London.
Acquired from the above by Jeremy Lancaster, 16 October 1989.
Literature
H. Shome (ed.), Oxford Companion to Twentieth-Century Art, Oxford 1981, p. 654 (illustrated, p. 6).



Exhibited
Bradford, Arts Council of Great Britain, Cartwright Hall, Victor Pasmore, 1980, no. 29. This exhibition later travelled to Liverpool, Walker Art Gallery; Norwich, University of East Anglia, Sainsbury Centre; Leicester, Leicestershire Museum and Art Gallery; Newcastle upon Tyne, Laing Art Gallery; and London, Royal Academy.
Calais, Museé des Beaux Arts et de la Dentelle, Victor Pasmore 1950-1967, 1985, no. 27, as 'Line and Space' (illustrated, upside down, p. 20).
Yale, Yale Center for British Art, Victor Pasmore, 1988-1989, no. 37, as 'Line and Space' (illustrated, p. 37).
Birmingham, The Barber Institute of Fine Arts, Chance, Order, Change: Abstract Paintings 1939-89, 2016.

Special notice

Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.

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Lot Essay

‘Abstract painting emerges as a pictorial art closer to music than has hitherto been possible – an art essentially plastic in forms but suggestive in effect. As the old masters talked of paintings as ‘silent poetry’, so in abstract painting we can speak of ‘visual music’.’
– Victor Pasmore

Line and Space No. 21, 1964, marks a change for Pasmore, as his focus once again returned to painting. He had been concerned, for over a decade, with breaking from the two-dimensional picture plane into the viewer’s space, exploring the intrinsic relationship between painting, sculpture and architecture through three dimensional constructed reliefs. By the mid-1960s, Pasmore returned to more traditional forms of expression, stating that, ‘I now realise that I am a painter, and quite content to paint. I’m prepared to accept that my own bent and training is not as a sculptor or architect. I’m returning to painting because I find I can go further with it’ (V. Pasmore, quoted in ‘Victor Pasmore – The Homecoming to Paint’, Studio International, 167, no. 854, June 1964, p. 227). The angular precision with which Pasmore places his lines, and the geometric nature of his work during this period, continue to carry the considerable weight and authority of his three-dimensional constructions.

In Line and Space No. 21, the combination of oil and wood with simple, incisive, sweeping gravure lines, has a balance and purity of form that Pasmore had long been searching for in his desire to create a truly abstract work of art through the synthesis of painting, sculpture, and architecture. Since the beginning of Pasmore’s exploration into the non-figurative in the late 1940s, the titles of his works have always remained purely descriptive; purposefully mundane, in a reflection, maybe, of the mechanised anonymity of the constructions, or indeed a respectful acknowledgment to the work of Mondrian, Malevich and the Bauhaus. In the introduction to Pasmore’s Tate Gallery retrospective in 1965, Ronald Alley wrote that 'Although Pasmore has covered a great deal of ground in his time there are certain qualities which are common to all his work, such as lyricism, extreme refinement of taste, and a feeling for light and space. There is behind his work a restless, inquiring intelligence which is constantly probing in different directions but, nevertheless, the work has an underlying unity’ (R. Alley (intro.), Victor Pasmore Retrospective exhibition 1925-65, exh, cat., London, Tate Gallery 1965).

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