.jpg?w=1)
.jpg?w=1)
.jpg?w=1)
.jpg?w=1)
拍品專文
The present watercolour relates to the preparatory sketches for the large oil Summer Night (1884-90), now in the Walker Art Gallery, Liverpool (fig. 1).
Robyn Asleson has noted that Summer Night was perhaps inspired by the Portland Vase, one of the most celebrated objects in the British Museum (fig. 2), as Moore adopted its frieze-like composition and loosely draped, lounging female figures. He worked on Summer Night for six years, and at various points used its figures as starting points for further compositions, as here. The seated figure in Hairpins appears in numerous works of this time, although she does not appear in exactly the same form in the final version of Summer Night. She is present to the left-hand side, turning, as here to retrieve a hairpin whilst holding her hair up, in an 1884-86 Composition study for a Summer Night (Private Collection), and in a coloured chalk sketch entitled Reflections (sold Sotheby's, Belgravia, 6 October 1980, lot 64), but in the final oil, the figure attending to her hair is seated to the right-hand side, and facing the opposite way.
Moore often used both oil sketches and highly finished watercolours like this one as part of his process for creating large, finished oils, treating them both as studies, and as finished works in their own right.
Robyn Asleson has noted that Summer Night was perhaps inspired by the Portland Vase, one of the most celebrated objects in the British Museum (fig. 2), as Moore adopted its frieze-like composition and loosely draped, lounging female figures. He worked on Summer Night for six years, and at various points used its figures as starting points for further compositions, as here. The seated figure in Hairpins appears in numerous works of this time, although she does not appear in exactly the same form in the final version of Summer Night. She is present to the left-hand side, turning, as here to retrieve a hairpin whilst holding her hair up, in an 1884-86 Composition study for a Summer Night (Private Collection), and in a coloured chalk sketch entitled Reflections (sold Sotheby's, Belgravia, 6 October 1980, lot 64), but in the final oil, the figure attending to her hair is seated to the right-hand side, and facing the opposite way.
Moore often used both oil sketches and highly finished watercolours like this one as part of his process for creating large, finished oils, treating them both as studies, and as finished works in their own right.