拍品专文
The Nature morte is a beautiful example of Zárraga's characteristic quick strokes and the meticulous depiction of light in the overall composition. The highly meditated painting also presents various influences from the former Masters in the artist's oeuvre. The overall composition in Nature morte seems to have been inspired by the famous painting by Brueghel titled Velours, in which the same melon, rendered in light yellow appears next to several dark purple plums. (1)
Equally, Zárraga admired the work by Cezanne and the present composition is therefore rendered in a bird's eye view- or plongeante perspective, commonly used by Paul Cezanne. Furthermore, the rustic wall of the background and the conic shape of the pear emulate Cezanne's theories in the formal arrangement of the composition as well as his cubist ideas of space. Cezanne wrote that 'everything in nature is cylindrical or conic' and Zárraga clearly valued and adopted these principles for his own body of work.
Color-wise, Nature morte reflects the Impressionistic color theories employed by Manet and Cezanne. Rhythmic oppositions of green and red broken by areas of white are evident throughout the painting. Additionally, random objects such as the chair, the knife and the kettle enhance the formal rhythm of the painting.
We are grateful to Professor Paulette Patout for confirming the attribution of this painting from a photograph, and for her assistance in cataloguing the present lot.
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1. V. Breughel de Velours, pres. De J. Combe, Col. Les chefs d'oeuvre de l'art Flamande, Paris, ed. Du Chene, 1942
2. Cezanne painted in the Twenties several pear compositions including Poires jaunes and Poires rouges both in private collections
Equally, Zárraga admired the work by Cezanne and the present composition is therefore rendered in a bird's eye view- or plongeante perspective, commonly used by Paul Cezanne. Furthermore, the rustic wall of the background and the conic shape of the pear emulate Cezanne's theories in the formal arrangement of the composition as well as his cubist ideas of space. Cezanne wrote that 'everything in nature is cylindrical or conic' and Zárraga clearly valued and adopted these principles for his own body of work.
Color-wise, Nature morte reflects the Impressionistic color theories employed by Manet and Cezanne. Rhythmic oppositions of green and red broken by areas of white are evident throughout the painting. Additionally, random objects such as the chair, the knife and the kettle enhance the formal rhythm of the painting.
We are grateful to Professor Paulette Patout for confirming the attribution of this painting from a photograph, and for her assistance in cataloguing the present lot.
_________________________________________
1. V. Breughel de Velours, pres. De J. Combe, Col. Les chefs d'oeuvre de l'art Flamande, Paris, ed. Du Chene, 1942
2. Cezanne painted in the Twenties several pear compositions including Poires jaunes and Poires rouges both in private collections