NATEE UTARIT (B. 1970)
納堤‧尤塔瑞 (1970年生)

舊浪漫主義的最後描述1號

細節
納堤‧尤塔瑞 (1970年生)
舊浪漫主義的最後描述1號
油彩 畫布
160 x 120 cm. (63 x 47 1/4 in.)
2005年作
款識︰The Last description of the Old Romantic Natee Utarit 05 (畫背)
來源
亞洲 私人收藏
出版
2009年《納堤‧尤塔瑞概觀 1991-2006》 泰國 曼谷 Numthong 畫廊 (圖版,無頁數)
2005年 《The Last Description of the Old Romantic》 展覽圖錄 泰國 曼谷 Numthong 畫廊 (圖版,無頁數)
展覽
2005年11月-12月 「The Last Description of the Old Romantic」 泰國 曼谷 Numthong 畫廊
刻印
Numthong Gallery, Natee Utarit Survey 1991 – 2006, Bangkok, Thailand, 2009 (illustrated, unpaged).
Numthong Gallery, The Last Description of the Old Romantic, exh. cat, Bangkok, Thailand, 2005 (illustrated, unpaged).

榮譽呈獻

Ada Tsui (徐文君)
Ada Tsui (徐文君)

拍品專文

The Last Description of the Old Romantic No.1 by Natee Utarit is an important work painted in 2005. Set against a solid black background, a beautifully enlarged, solitary flower fills the entire canvas. Immediately the red and white petals stand out amidst the intent for contrast. Thinly applied strips of black oil paint and wood stain gleam across the leftmost side, center and rightmost side of the work. As these 'shields' are applied over the main flower subject, he cleverly creates stunning visual textures by revealing and concealing details. The alluring nature of the work beckons quiet and lengthy contemplation; an unbeknownst invisible dialogue is initiated.

Throughout the history of both Western and Eastern art, flowers has been beloved subject of study and exploration for artists. Ambrosius Bosschaert , Vincent Van Gogh, Claude Manet, Andy Warhol, Yayoi Kusama, Le Pho, Georgette Chen and Qi Baishi are some important artists who are known to have painted flowers in their oeuvre. In pursuit of understanding and redefining ideals and thoughts of what construes beauty in the West, Utarit embarked on this survey with flowers as a specific motif.

The series "Reason and Monsters Project" was executed in 2002, and precedes the "The Last Description of the Old Romantic"; where there was an extended application of the 'shield' technique. In essence, Utarit presents the notion of dual realities and the connection between thoughts understood from fantasy and the authentic attributes of painting as a physical phenomenon. Centuries ago, the ancient Greek philosopher Pliny noted that a painting proposes "a promise"; a declaration of assurance of what is not apparent or uncovered, and in return, paintings hold out a "promise" of clandestine significance. Utarit continues to live out his "dedication and homage to the ancient aesthetic, hope and faith in the world of painting."

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