NATEE UTARIT (B. 1970)
NATEE UTARIT (B. 1970)

The Last Description of the Old Romantic No.1

Details
NATEE UTARIT (B. 1970)
The Last Description of the Old Romantic No.1
signed, titled and dated ‘The Last description of the Old Romantic Natee Utarit 05’ (on the reverse)
oil on canvas
160 x 120 cm. (63 x 47 1/4 in.)
Painted in 2005
Provenance
Private Collection, Asia
Exhibited
Bangkok, Thailand, Numthong Gallery, The Last Description of the Old Romantic, November – December 2005.

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Ada Tsui (徐文君)
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Lot Essay

The Last Description of the Old Romantic No.1 by Natee Utarit is an important work painted in 2005. Set against a solid black background, a beautifully enlarged, solitary flower fills the entire canvas. Immediately the red and white petals stand out amidst the intent for contrast. Thinly applied strips of black oil paint and wood stain gleam across the leftmost side, center and rightmost side of the work. As these 'shields' are applied over the main flower subject, he cleverly creates stunning visual textures by revealing and concealing details. The alluring nature of the work beckons quiet and lengthy contemplation; an unbeknownst invisible dialogue is initiated.

Throughout the history of both Western and Eastern art, flowers has been beloved subject of study and exploration for artists. Ambrosius Bosschaert , Vincent Van Gogh, Claude Manet, Andy Warhol, Yayoi Kusama, Le Pho, Georgette Chen and Qi Baishi are some important artists who are known to have painted flowers in their oeuvre. In pursuit of understanding and redefining ideals and thoughts of what construes beauty in the West, Utarit embarked on this survey with flowers as a specific motif.

The series "Reason and Monsters Project" was executed in 2002, and precedes the "The Last Description of the Old Romantic"; where there was an extended application of the 'shield' technique. In essence, Utarit presents the notion of dual realities and the connection between thoughts understood from fantasy and the authentic attributes of painting as a physical phenomenon. Centuries ago, the ancient Greek philosopher Pliny noted that a painting proposes "a promise"; a declaration of assurance of what is not apparent or uncovered, and in return, paintings hold out a "promise" of clandestine significance. Utarit continues to live out his "dedication and homage to the ancient aesthetic, hope and faith in the world of painting."
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