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拍品專文
Executed in 1924, this carefully composed and classically modernist still-life belongs to the period in the early 1920s when Lger was founding the aesthetic principles of the Purist movement and working under the profound influence of the cinema.
Influenced by the techniques of film-making that he had learned by working with Marcel L'Herbier on L'Inhumaine in 1923 and in the making of his own film Ballet Mechanique of 1924, Lger became interested in the implications for painting of the extreme close-up. In 1924 he began to magnify details of his paintings in order to stress the strangeness of objects out of a normal proportional context and in order to emphasise the equal importance of all things. "In 1923 and 1924," he explained, "I executed pictures using as active elements objects isolated from all trace of atmosphere or of mutual relationships - objects taken from abandoned subjects. The subject had already been destroyed in painting, just as the avant-garde cinema had destroyed the script.... I thought that the neglected, unconsidered object was capable of replacing the subject." (quoted in W. Schmalenbach, Lger, London 1976, p. 122)
In the present work, Lger has flattened the pictorial space to a point where perspective is barely present and each object attains an equal significance within the structure of the carefully ordered composition. Yet although they are integrated and held together by a cubistic background of interconnecting rectangles receding into space, the jug, the bottle, the table, the carpet, the book and especially the apple appear strangely isolated and independent from one another. Describing the new technique of a work like Nature morte Lger called the strange ambience that surrounds the objects in his paintings of these years a "new lyricism" which he believed would lead to a wider and newer understanding of reality. "The cinema personalises and frames the fragment," he observed. "This new realism could have incalculable consequences. A collar stud under the projector magnified a hundred times becomes a radiant planet. A totally new lyricism of the transformed object is born..... The future of both the cinema and painting depends on the interest it will confer on objects, fragments of objects, and purely fantastic and imaginary inventions." (quoted in ibid. p. 122)
Influenced by the techniques of film-making that he had learned by working with Marcel L'Herbier on L'Inhumaine in 1923 and in the making of his own film Ballet Mechanique of 1924, Lger became interested in the implications for painting of the extreme close-up. In 1924 he began to magnify details of his paintings in order to stress the strangeness of objects out of a normal proportional context and in order to emphasise the equal importance of all things. "In 1923 and 1924," he explained, "I executed pictures using as active elements objects isolated from all trace of atmosphere or of mutual relationships - objects taken from abandoned subjects. The subject had already been destroyed in painting, just as the avant-garde cinema had destroyed the script.... I thought that the neglected, unconsidered object was capable of replacing the subject." (quoted in W. Schmalenbach, Lger, London 1976, p. 122)
In the present work, Lger has flattened the pictorial space to a point where perspective is barely present and each object attains an equal significance within the structure of the carefully ordered composition. Yet although they are integrated and held together by a cubistic background of interconnecting rectangles receding into space, the jug, the bottle, the table, the carpet, the book and especially the apple appear strangely isolated and independent from one another. Describing the new technique of a work like Nature morte Lger called the strange ambience that surrounds the objects in his paintings of these years a "new lyricism" which he believed would lead to a wider and newer understanding of reality. "The cinema personalises and frames the fragment," he observed. "This new realism could have incalculable consequences. A collar stud under the projector magnified a hundred times becomes a radiant planet. A totally new lyricism of the transformed object is born..... The future of both the cinema and painting depends on the interest it will confer on objects, fragments of objects, and purely fantastic and imaginary inventions." (quoted in ibid. p. 122)