拍品專文
Toward the end of the 1950s, the character of Peter Brüning's work began to move away from the artist's concentration with the material qualities of paint and the use of a heavy impasto that had characterised his work from the "breakthrough" year of 1956 onwards. In its place came a marked refinement in the way Brüning applied the paint and a concern with a thinner and more gestural mark as a means of personal expression.
In 1960, Brüning came across the work of Cy Twombly for the first time in Düsseldorf and the American's calligraphic style had a profound effect on him. In it he recognised a means of refining and developing his own style further and under the influence of Twombly and other artists working in Rome, Brüning's work underwent a radical change. On a series of visits to Italy, Brüning began experimenting with a far more colourful palette and with a gestural application.
This work is one of a number of pictures that Brüning painted in early 1961 shortly before his visit to Italy, and is one of the first to clearly show the lessons he had learned from looking at Twombly's art the year before. The sweeping use of the blue brush marks suggests both a continuation from certain works of 1959 and 1960, but in their increased freedom of application also a departure from that earlier style. No. 82 is a vigorous and exciting picture that reflects an eagerness on the artist's part to explore a newly discovered technique and also one that anticipates a major turning point in the artist's career.
In 1960, Brüning came across the work of Cy Twombly for the first time in Düsseldorf and the American's calligraphic style had a profound effect on him. In it he recognised a means of refining and developing his own style further and under the influence of Twombly and other artists working in Rome, Brüning's work underwent a radical change. On a series of visits to Italy, Brüning began experimenting with a far more colourful palette and with a gestural application.
This work is one of a number of pictures that Brüning painted in early 1961 shortly before his visit to Italy, and is one of the first to clearly show the lessons he had learned from looking at Twombly's art the year before. The sweeping use of the blue brush marks suggests both a continuation from certain works of 1959 and 1960, but in their increased freedom of application also a departure from that earlier style. No. 82 is a vigorous and exciting picture that reflects an eagerness on the artist's part to explore a newly discovered technique and also one that anticipates a major turning point in the artist's career.