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拍品專文
The 1960s saw Roger Hilton returning to a more figurative style, and the present lot is an exemplary piece in which he reintroduces the human body to his work. He maintains however, an abstracted approach to his portrayal of the figure, using bold outline and large blocks of colour to describe her and her surroundings.
The style of Untitled bears similarity to Oi Yoi Yoi (Tate, London), a large oil and charcoal painting of a dancing woman, painted in 1963. As with the present lot, Hilton creates a strong image with flat areas of colour and dark outlines. Hilton explained his inspiration for painting Oi Yoi Yoi in a questionnaire from the Tate in 1974, the year of the acquisition; "He referred to a scene on holiday in France following a row with his second wife-to-be. She was jumping up and down naked on the veranda, shouting. Meanwhile a nearby haystack caught fire" (C. Harrison, Exhibition catalogue, Roger Hilton, London, Hayward Gallery, 1993, p. 16). The energy and humour expressed here also relates to Untitled, and the red paint suggests the alight haystack and the vigour of the argument.
The style of Untitled bears similarity to Oi Yoi Yoi (Tate, London), a large oil and charcoal painting of a dancing woman, painted in 1963. As with the present lot, Hilton creates a strong image with flat areas of colour and dark outlines. Hilton explained his inspiration for painting Oi Yoi Yoi in a questionnaire from the Tate in 1974, the year of the acquisition; "He referred to a scene on holiday in France following a row with his second wife-to-be. She was jumping up and down naked on the veranda, shouting. Meanwhile a nearby haystack caught fire" (C. Harrison, Exhibition catalogue, Roger Hilton, London, Hayward Gallery, 1993, p. 16). The energy and humour expressed here also relates to Untitled, and the red paint suggests the alight haystack and the vigour of the argument.