拍品專文
In an interview in the Art Digest in 1946, Tanguy explained his spontaneous working technique: "Le tableau se développe sous mes yeux, dépolyant ses surprises au fer et à mesure qu'il s'élabore. C'est cela qui me donne le sens de la liberté totale, et, pour cette raison, je suis incapable de concevoir un plan ou de dessiner une equisse préalable". (P. Waldberg, Yves Tanguy, Brussels, 1977, pp. 185-7.)
When James Thrall Soby wrote of Tanguy's work in the '30s and '40s, he elaborated on this, "... what interested (Breton) most as a painter was the way in which one motif suggested a second, a third, a fourth, unpredictably" in what one could call a "spontaneous generation of forms". He continues, "After his African voyage, Tanguy usually substituted mineral forms for the vegetable ones used in his earlier works. His colour became more complex and varied ... he made more and more frequent use of one of his most poetic inventions - the melting of land into the sky, one image metamorphosed into another, as in the moving-picture technique known as lap-dissolve. The fixed horizon was now often replaced by a continuous and flowing treatment of space, and in many paintings of the 1930s and 1940s ... it is extremely difficult to determine at what point earth becomes sky or whether the objects rest on the ground or float aloft. The ambiguity is intensified by changes in the density of the objects themselves, from opaque to translucent to transparent, creating a spatial double entendre". (Exh. cat., Tanguy Retrospective, Museum of Modern Art, New York, 1955, pp. 17-18.)
Compositione clearly exemplifies all the qualities Soby has identified as characteristic of Tanguy's oeuvre and can be linked to other work of the period, such as Mode d'heredite of 1936 (illustrated in exh. cat., Yves Tanguy - A Summary of his Works, Pierre Matisse Gallery, New York, 1963, no. 172, p. 95) or Jour de Lenteur of 1937 (ibid, cat. no. 196, p. 102.)
Frederik Christian Boldsen (1877-1954) founded what is today known as K.A.B., the Copenhagen General Building Society. Boldsen had a great vision about modern housing which inspires Danish housing even today. He was also an important and farsighted collector of modern art. He bought works by young Danish artists like Richard Mortensen, Vilhelm Bjerke Petersen, Wilhelm Freddie, Asger Jorn, Vilhelm Lundstrom, Harald Giersing and Henry Heerup. Boldsen was greatly interested in Surrealism. He collected pictures by Magritte, Tanguy, Dominguez [see lot ] and Ernst as well as by the Swedish surrealist Halmstadt Group (a.o. Erik Olsen, Axel Olsson, F. Thorén, S. Jonson and G. A. Nilson). Part of his collection was sold in Copenhagen after his death.
André François Petit has kindly confirmed the authenticity of this work.
When James Thrall Soby wrote of Tanguy's work in the '30s and '40s, he elaborated on this, "... what interested (Breton) most as a painter was the way in which one motif suggested a second, a third, a fourth, unpredictably" in what one could call a "spontaneous generation of forms". He continues, "After his African voyage, Tanguy usually substituted mineral forms for the vegetable ones used in his earlier works. His colour became more complex and varied ... he made more and more frequent use of one of his most poetic inventions - the melting of land into the sky, one image metamorphosed into another, as in the moving-picture technique known as lap-dissolve. The fixed horizon was now often replaced by a continuous and flowing treatment of space, and in many paintings of the 1930s and 1940s ... it is extremely difficult to determine at what point earth becomes sky or whether the objects rest on the ground or float aloft. The ambiguity is intensified by changes in the density of the objects themselves, from opaque to translucent to transparent, creating a spatial double entendre". (Exh. cat., Tanguy Retrospective, Museum of Modern Art, New York, 1955, pp. 17-18.)
Compositione clearly exemplifies all the qualities Soby has identified as characteristic of Tanguy's oeuvre and can be linked to other work of the period, such as Mode d'heredite of 1936 (illustrated in exh. cat., Yves Tanguy - A Summary of his Works, Pierre Matisse Gallery, New York, 1963, no. 172, p. 95) or Jour de Lenteur of 1937 (ibid, cat. no. 196, p. 102.)
Frederik Christian Boldsen (1877-1954) founded what is today known as K.A.B., the Copenhagen General Building Society. Boldsen had a great vision about modern housing which inspires Danish housing even today. He was also an important and farsighted collector of modern art. He bought works by young Danish artists like Richard Mortensen, Vilhelm Bjerke Petersen, Wilhelm Freddie, Asger Jorn, Vilhelm Lundstrom, Harald Giersing and Henry Heerup. Boldsen was greatly interested in Surrealism. He collected pictures by Magritte, Tanguy, Dominguez [see lot ] and Ernst as well as by the Swedish surrealist Halmstadt Group (a.o. Erik Olsen, Axel Olsson, F. Thorén, S. Jonson and G. A. Nilson). Part of his collection was sold in Copenhagen after his death.
André François Petit has kindly confirmed the authenticity of this work.