.jpg?w=1)
.jpg?w=1)
.jpg?w=1)
拍品專文
Catherine Lampert describes the controlled composition of Girl with White Tree: 'Lines and brushstrokes overlap and intersect the tree and figure. A line 3.2 cm from the bottom runs across the head, the green from the grass enters the foot, the blue goes into the branches and white lines are in the sky' (C. Lampert, loc. cit.).
The branch of the white tree dissects the composition, providing a strong vertical element in contrast with the figure's horizontal form. Uglow found the tree branch in the street and he set it up 'in the studio like a stage prop or the Giacometti tree in Beckett's revival for Waiting for Godot in 1961' (ibid.). He used it in a larger oil of 1993-95, Articulation, inspired by a recent visit to Romania where he had seen Brâncuși's Endless Column. The tree's positioning within the painting reinforces the form of the nude figure, 'a dancer who could get into the most extraordinary poses' (Uglow, quoted in C. Lampert, ibid.).
We are very grateful to Catherine Lampert for her assistance in cataloguing this lot.
The branch of the white tree dissects the composition, providing a strong vertical element in contrast with the figure's horizontal form. Uglow found the tree branch in the street and he set it up 'in the studio like a stage prop or the Giacometti tree in Beckett's revival for Waiting for Godot in 1961' (ibid.). He used it in a larger oil of 1993-95, Articulation, inspired by a recent visit to Romania where he had seen Brâncuși's Endless Column. The tree's positioning within the painting reinforces the form of the nude figure, 'a dancer who could get into the most extraordinary poses' (Uglow, quoted in C. Lampert, ibid.).
We are very grateful to Catherine Lampert for her assistance in cataloguing this lot.