.jpg?w=1)
拍品专文
"At first my disc idea was of an entirely artistic nature. Just as the composer works with sounds I wanted to work with colours as a means of combining rhythm, values, dynamics and series to form a surface. This was the right approach, for it enabled me to devise my own kind of absolute painting. The binding character of this painting - of all painting - lies in its radiation of the free, self-creative, independent, modern personality, free of all ties…" (E.W.Nay, 1965 cited in Ernst Wilhelm Nay exhib. cat Stedelijk Museum , Amsterdam 1998, p. 104.)
Silber und Rot (Silver and Red) is one of Nay's celebrated "Disc" pictures - the series that obsessed the artist for over eight years between 1954 and 1962 and which is widely regarded as forming the classical period of his oeuvre. The disc pictures represent the culmination of the working method Nay applied in his "fugal" and "rhythmic" pictures of the 1950s, but the motif of the disc allowed him to pursue what he described as a "surface tension" that was lacking in those earlier works. "I used the disc as a potential energy form", he has said, and began the "surface choreography" with it. "Setting down like a composer without knowing what the picture would or could give."
"If I set a coloured dot on an empty surface an astonishing number of tensions were created. If I spread out the dot, the tensions increased. A second such disc, a third , a fourth - all the same size, already created a highly complicated formal relation. A number of colours also emerged if I made each disc a different colour, they could be regarded as a chromatic sequence. The spaces between created forms and could be developed quite mechanically with the same colours in a specific alternation, creating a corrugated surface so that interlinking resulted......This way of experimenting with a pictorial whole enabled endless variations, but it also concealed an immense danger to my own soul, which blazed out often enough, The monomania could be intensified to pathological proportions. It would have been quite inconceivable to surrender to all that, one would have robbed the driving force of all tension, and no pictures would have resulted." (cited in Retrospektive E. W. Nay exhib. cat. Ludwig Museum, Cologne, 1990,p. 36)
In Silber und Rot a dimensionless cosmos of coloured form seems compressed onto the surface of the painting creating a seemingly infinite expanse of colour that appears to resonate and vibrate with life. The silver and red of the title evidently refers to the silvery blue and crimson discs at the upper centre of the canvas which effectively pin the whole composition together and hold it into a tense shimmering unity. Nay always insisted there was no intrinsic "meaning" to his pictures, but with reference to his disc pictures he did once observe that ,"what must be said about my way of inventing discs is that it was of a purely artistic nature, it contained no physical element, nothing of nature, but it probably contained that psychological complex of banishing fear which C.G. Jung refers to. One can scream out one's fear, as is usually done today, but one can also move towards it without idealism or bombast, circle = Mandala!", (Ibid p. 37)
Silber und Rot (Silver and Red) is one of Nay's celebrated "Disc" pictures - the series that obsessed the artist for over eight years between 1954 and 1962 and which is widely regarded as forming the classical period of his oeuvre. The disc pictures represent the culmination of the working method Nay applied in his "fugal" and "rhythmic" pictures of the 1950s, but the motif of the disc allowed him to pursue what he described as a "surface tension" that was lacking in those earlier works. "I used the disc as a potential energy form", he has said, and began the "surface choreography" with it. "Setting down like a composer without knowing what the picture would or could give."
"If I set a coloured dot on an empty surface an astonishing number of tensions were created. If I spread out the dot, the tensions increased. A second such disc, a third , a fourth - all the same size, already created a highly complicated formal relation. A number of colours also emerged if I made each disc a different colour, they could be regarded as a chromatic sequence. The spaces between created forms and could be developed quite mechanically with the same colours in a specific alternation, creating a corrugated surface so that interlinking resulted......This way of experimenting with a pictorial whole enabled endless variations, but it also concealed an immense danger to my own soul, which blazed out often enough, The monomania could be intensified to pathological proportions. It would have been quite inconceivable to surrender to all that, one would have robbed the driving force of all tension, and no pictures would have resulted." (cited in Retrospektive E. W. Nay exhib. cat. Ludwig Museum, Cologne, 1990,p. 36)
In Silber und Rot a dimensionless cosmos of coloured form seems compressed onto the surface of the painting creating a seemingly infinite expanse of colour that appears to resonate and vibrate with life. The silver and red of the title evidently refers to the silvery blue and crimson discs at the upper centre of the canvas which effectively pin the whole composition together and hold it into a tense shimmering unity. Nay always insisted there was no intrinsic "meaning" to his pictures, but with reference to his disc pictures he did once observe that ,"what must be said about my way of inventing discs is that it was of a purely artistic nature, it contained no physical element, nothing of nature, but it probably contained that psychological complex of banishing fear which C.G. Jung refers to. One can scream out one's fear, as is usually done today, but one can also move towards it without idealism or bombast, circle = Mandala!", (Ibid p. 37)