Francesco Clemente (b. 1952)

Untitled

細節

Francesco Clemente (b. 1952)
Untitled
oil on canvas
78 x 93 1/8 in. (198.2 x 236.4 cm.)
Painted in 1983.

來源

Sperone Westwater Fischer Gallery, New York
Gerald S. Elliott, Chicago
His sale; Christie's, New York, 2 November 1994, lot 14 (on the cover of the catalogue)

出版

J. Russell, "The New European Painters", The New York Times Magazine, April 24, 1983 (cover illustration)
R. Shore, "New York: Some Recent Exhibitions", The Burlington Magazine, July 1983, p. 451, no. 65 (illustrated)
D. Bourdon, "The Go-Betweens", Vogue, September 1984, p. 98 (illustrated)
J. Neisser, "A Magnificent Obsession", Art & Auction, December 1987, p. 111 (illustrated)
C. Jenks, Post-Modernism: The New Classicism in Art and Architecture, New York 1987, p. 59 (illustrated)
T. Shafrazi, Jean-Michel Basquiat, New York 1999, p. 316 (illustrated)

展覽

New York, Mary Boone Gallery, Francesco Clemente, March-April 1983 Chicago Public Library Cultural Center, Contemporary Italian Masters, June-September 1984, pp. 18 and 30 (illustrated)
Minneapolis, Walker Art Center, Images and Impressions: Painters Who Print, September-November 1984, p. 24, no. 45 (illustrated)
Sarasota, The John and Mable Ringling Museum of Art; Minneapolis, Walker Art Center; Dallas Museum of Art; Berkeley, University Art Museum; Buffalo, Albright-Knox Art Gallery; and Los Angeles, The Museum of Contemporary Art, Francesco Clemente, October 1985-March 1987, pl. 61 (illustrated)
The Art Institute of Chicago, Affinities and Institutions: The Gerald S. Elliott Collection of Contemporary Art, May-July 1990, p. 180, no. 22 (illustrated)

拍品專文

Central to Clemente's life and work is his belief in an uncensored discourse between diverse cultures. For the artist, all manner of natural and spiritual forms co-exist. He intuitively depicts this great mix of cultures and religions in the context of timelessness, without reverence to scale or hierarchy. In Untitled, 1983, Clemente vividly portrays himself on several simultaneous levels of evolution: "We see Clemente's boyishly transcend features [giving] themselves over to canine ears and a snoutlike nose. Clemente ascends to the image of a wolf... He has abandoned himself to his animal side." (M. Auping, "Primitive Decorum: Of Style, Nature and the Self in Recent Italian Art," Affinties and Intuitions: The Gerald S. Elliott Collection of Contemporary Art, Chicago, 1990, p. 173.)

Untitled, 1983 is a powerful and dramatic image of birth, death and transmutation. In overlapping self-portraits, the artist is caught in motion: he is falling in the foreground, while mutating into an animal behind. The motion serves as a metaphor for the ephemeral nature of life.