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拍品專文
This work will be included in the forthcoming catalogue raisonné of Paintings & Collages by Robert Motherwell being prepared by the Dedalus Foundation.
On April 5-6, 1979 Motherwell delivered a lecture and participated in a conversation with students at the University of Connecticut in Storrs at the William Benton Museum of Art, in conjunction with the exhibition Robert Motherwell and Black". In his conversation, he related the following anecdote:
"Last night after the lecture, I was standing over there next to that huge black and white picture, and some middle-aged man came up to me and said, 'exactly what does it mean"...And suddenly I realized that each brushstroke is a decision, and it's a decision not only aesthetically: -will this look more beautiful? -it's a decision that has to do with one's gut: it's getting too heavy, or too light. It has to do with one's sense of sensuality: the surface is getting too coarse, or not fine enough. It has to do with one's sense of life: is it airy enough or is it leaden? It has to do with one's own inner sense of weights: I happen to be a heavy, clumsy, awkward man, and if something gets too airy -probably though I admire it very much- it doesn't feel like my self to me. But in the end I realize that whatever meaning that picture has is the accumulated meaning of ten thousand brush strokes, each one being decided as it was painted...It's the long haul that counts, and in that sense, all of these pictures to me -everybody talks about them as individuals, and they are in one sense -they're all sentences, or paragraphs, or slices from a continuum that has gone on my whole life, and will till the day I die" (R. Motherwell quoted in S. Terenzio, ed., The Collected Writings of Robert Motherwell, New York, 1992, p. 227)
On April 5-6, 1979 Motherwell delivered a lecture and participated in a conversation with students at the University of Connecticut in Storrs at the William Benton Museum of Art, in conjunction with the exhibition Robert Motherwell and Black". In his conversation, he related the following anecdote:
"Last night after the lecture, I was standing over there next to that huge black and white picture, and some middle-aged man came up to me and said, 'exactly what does it mean"...And suddenly I realized that each brushstroke is a decision, and it's a decision not only aesthetically: -will this look more beautiful? -it's a decision that has to do with one's gut: it's getting too heavy, or too light. It has to do with one's sense of sensuality: the surface is getting too coarse, or not fine enough. It has to do with one's sense of life: is it airy enough or is it leaden? It has to do with one's own inner sense of weights: I happen to be a heavy, clumsy, awkward man, and if something gets too airy -probably though I admire it very much- it doesn't feel like my self to me. But in the end I realize that whatever meaning that picture has is the accumulated meaning of ten thousand brush strokes, each one being decided as it was painted...It's the long haul that counts, and in that sense, all of these pictures to me -everybody talks about them as individuals, and they are in one sense -they're all sentences, or paragraphs, or slices from a continuum that has gone on my whole life, and will till the day I die" (R. Motherwell quoted in S. Terenzio, ed., The Collected Writings of Robert Motherwell, New York, 1992, p. 227)