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拍品專文
Hodgkin's paintings seek to be truthful to reality by deliberately and openly exposing their own artifice. His largely intimiste approach in many of his paintings has inevitably drawn comparisons between his work and that of Vuillard, Bonnard and Matisse, but unlike these artists Hodgkin has no qualms about departing entirely from objective reality in order to convey more faithfully the emotive power of real experience.
Interior with Figures is a rare but important work in Hodgkin's oeuvre because in this remarkable painting, the intimate interior scene which Hodgkin depicts bears, unusually for him, a close representational resemblance to its title. No stranger to using the effects of trompe l'oeil in his work, in Interior with Figures Hodgkin lets the objects of the scene - the lamp, the bed, the curtains and the figures on the bed - assert their own individual identity only to again deliberately negate them in the manner in which they are distorted or left indistinct and ambiguous. Within the painterly logic of the picture these representational objects are in reality merely brushmarks, colours and compositonal elements that here are presented in a way that emphasises their own artificiality and illusionism.
Reminiscent of Walter Sickert's famous Camden Town series in its subject matter and its "through the keyhole" viewpoint, the cold impersonality of Sickert's work is wholly absent from Hodgkin's interior which conveys a intimate and cosy atmosphere through a stunning blend of warm colour. Using deep crimsons and fleshy pinks, along with a liberal use of a mottled and highly intense scarlet, Hodgkin drenches this scene with colour until it becomes the dominant force of the painting and generates a warm and tender sense of eroticism which in the manner of his application of the paint recalls the fleshy and vibrant sexual paintings of Willem de Kooning.
Interior with Figures is a rare but important work in Hodgkin's oeuvre because in this remarkable painting, the intimate interior scene which Hodgkin depicts bears, unusually for him, a close representational resemblance to its title. No stranger to using the effects of trompe l'oeil in his work, in Interior with Figures Hodgkin lets the objects of the scene - the lamp, the bed, the curtains and the figures on the bed - assert their own individual identity only to again deliberately negate them in the manner in which they are distorted or left indistinct and ambiguous. Within the painterly logic of the picture these representational objects are in reality merely brushmarks, colours and compositonal elements that here are presented in a way that emphasises their own artificiality and illusionism.
Reminiscent of Walter Sickert's famous Camden Town series in its subject matter and its "through the keyhole" viewpoint, the cold impersonality of Sickert's work is wholly absent from Hodgkin's interior which conveys a intimate and cosy atmosphere through a stunning blend of warm colour. Using deep crimsons and fleshy pinks, along with a liberal use of a mottled and highly intense scarlet, Hodgkin drenches this scene with colour until it becomes the dominant force of the painting and generates a warm and tender sense of eroticism which in the manner of his application of the paint recalls the fleshy and vibrant sexual paintings of Willem de Kooning.