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拍品專文
'He tries to discover and create all by himself; he patiently grinds his pigments, stretches his canvases and looks around at the surrounding objects; from the hallowed loaf of bread, dark and streaked with cracks like an age-old stone, to the clear-cut shapes of glasses and bottles. He looks at a cluster of objects on a table with the same emotion stirring in his heart as the wanderer in ancient Greece felt as he gazed at groves, dales and hills, believed to be the abode of ravishing and astounding deities. He gazes with the eye of a believer, and the innermost bones of these things, dead to us because their life is stilled, appear to him in their most consoling guise; in their everlasting aspect. Thus he shares in the great lyricism created by the latest and deepest European art: the metaphysics of the most common objects; those which habit has made so familiar to us that, however wise we may be to the mysteries of appearance, we often look at them with seeing yet unknowing eyes." (Giorgio de Chirico from the foreword to Morandi's paintings La Fiorentina Primaverile, 1922.)
Forming a rectangle of solid form at the centre of the canvas, the composition of bottles, glasses and jugs in this work has been carefully conceived so that the arrangement appears almost geometric in its proportion. This impression has been acheived by a meticulous arrangement of the six objects in a thoroughly classical manner that cleverly articulates a three dimensional play, between the solidity of form and the emptiness of the space that exists between each object.
Casting a silhouette against the edge of the table like the skyline of a classical city outlined against the horizon, the compactness of this dark and dense grouping is also deliberately contrasted with the bright airy light and emptiness of its surroundings. Within the enclosure of the composed group of objects, Morandi has articulated and defined the depth of field and the gentle way in which the light changes as it falls across each object with a brilliantly tender and subtle gradation of soft colour. Although the painting depicts only six objects on a table, Morandi's talent is such that in this work he has created an entire world that appears complete unto itself.
Forming a rectangle of solid form at the centre of the canvas, the composition of bottles, glasses and jugs in this work has been carefully conceived so that the arrangement appears almost geometric in its proportion. This impression has been acheived by a meticulous arrangement of the six objects in a thoroughly classical manner that cleverly articulates a three dimensional play, between the solidity of form and the emptiness of the space that exists between each object.
Casting a silhouette against the edge of the table like the skyline of a classical city outlined against the horizon, the compactness of this dark and dense grouping is also deliberately contrasted with the bright airy light and emptiness of its surroundings. Within the enclosure of the composed group of objects, Morandi has articulated and defined the depth of field and the gentle way in which the light changes as it falls across each object with a brilliantly tender and subtle gradation of soft colour. Although the painting depicts only six objects on a table, Morandi's talent is such that in this work he has created an entire world that appears complete unto itself.