拍品專文
The present work predates an oil and pencil on carved board composition 1962 (argos) (35.2 x 44.5 cm.) which is in the collection of Kettle's Yard, University of Cambridge. The title refers to a trip which Nicholson took with Felicitas Vogler, who he had married in 1957, to Greece, in the autumn of 1961. They are also known to have visited Mycaenae, Olympia and Paros. Other compositions which resulted from this trip include 1962 (white relief, Paros) (61.2 x 63 cm.) which is in the collection of the Scottish National Gallery of Modern Art, Edinburgh.
Some years earlier, in 1941, Nicholson had distinguished between drawing or painting particular places and making abstract works, referring to them as follows, 'One of the main differences between a representational and an abstract painting is that the former can transport you to Greece by a representation of blue skies and seas, with trees and marble columns, but in order that you may take part in this you will have to concentrate on the painting, whereas the abstract version by its free use of form and colour will be able to give you the actual quality of Greece itself, and this will become part of the light and space and life in the room - there is no need to concentrate, it becomes part of the living!' (see N. Lynton, exhibition catalogue, Ben Nicholson (1894-1982), Tokyo, Odakyu Museum, 1992, p. 136).
Some years earlier, in 1941, Nicholson had distinguished between drawing or painting particular places and making abstract works, referring to them as follows, 'One of the main differences between a representational and an abstract painting is that the former can transport you to Greece by a representation of blue skies and seas, with trees and marble columns, but in order that you may take part in this you will have to concentrate on the painting, whereas the abstract version by its free use of form and colour will be able to give you the actual quality of Greece itself, and this will become part of the light and space and life in the room - there is no need to concentrate, it becomes part of the living!' (see N. Lynton, exhibition catalogue, Ben Nicholson (1894-1982), Tokyo, Odakyu Museum, 1992, p. 136).