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拍品專文
'Delaunay and Apollinaire stayed a night with us. To my great joy they liked my recent work the most. Delaunay writes to me more often'.
So wrote August Macke from his Bonn home on 27 February 1913. Then, in the following month, when Macke visited the Delaunay exhibition at the Gereonsclub in Cologne, he wrote to his patron Bernhard Koehler: 'I already had the feeling at the time in Paris that the works I saw were very important. Now, after I've seen them a second time, together with the new works, I am completely convinced'. Macke's enthusiasm for Delaunay was fired by his viewing in Cologne of the Frenchman's Fenêtres, and their depiction of 'the beautiful fruit of light', to coin Apollinaire's description. Macke, of course, was far from alone amongst German artists of the avant-garde in admiring Delaunay. With Kandinsky's excited endorsement, Delaunay's work had already been illustrated in the almanach of the Blauen Reiter and exhibited in the first group exhibition, which Macke had visited on its Cologne leg in January 1912.
Farbige Formen III belongs to a series of oils painted by Macke in 1913 as he explored Delaunay's Orphist idiom. His sketchbooks of the time are filled with abstract geometrical drawings entirely based on Delaunay's experiments. In particular, his 1913 Bonn sketchbook (55B) includes a group of fascinating studies of geometrical designs later used in paintings such as the present work. However, Macke developed Delaunay's theories in a style very much his own, concentrating on the rich colour harmonies and supremely ordered composition that he was to carry through into the paintings of his short, final year.
So wrote August Macke from his Bonn home on 27 February 1913. Then, in the following month, when Macke visited the Delaunay exhibition at the Gereonsclub in Cologne, he wrote to his patron Bernhard Koehler: 'I already had the feeling at the time in Paris that the works I saw were very important. Now, after I've seen them a second time, together with the new works, I am completely convinced'. Macke's enthusiasm for Delaunay was fired by his viewing in Cologne of the Frenchman's Fenêtres, and their depiction of 'the beautiful fruit of light', to coin Apollinaire's description. Macke, of course, was far from alone amongst German artists of the avant-garde in admiring Delaunay. With Kandinsky's excited endorsement, Delaunay's work had already been illustrated in the almanach of the Blauen Reiter and exhibited in the first group exhibition, which Macke had visited on its Cologne leg in January 1912.
Farbige Formen III belongs to a series of oils painted by Macke in 1913 as he explored Delaunay's Orphist idiom. His sketchbooks of the time are filled with abstract geometrical drawings entirely based on Delaunay's experiments. In particular, his 1913 Bonn sketchbook (55B) includes a group of fascinating studies of geometrical designs later used in paintings such as the present work. However, Macke developed Delaunay's theories in a style very much his own, concentrating on the rich colour harmonies and supremely ordered composition that he was to carry through into the paintings of his short, final year.