Victor Pasmore (1908-1998)
Artist's Resale Right ("Droit de Suite"). Artist's… Read more
Victor Pasmore (1908-1998)

Abstract in Indian Red, Crimson, Blue, Yellow, Green, Pink and Orange

Victor Pasmore (1908-1998)
Abstract in Indian Red, Crimson, Blue, Yellow, Green, Pink and Orange
signed with initials 'VP' (lower right)
oil on canvas
18 x 13in. (45.7 x 33cm.)
Painted in 1949-1950
Dr H.P. Widdup.
Redfern Gallery, London.
Alan Ross, 1963.
Redfern Gallery, London.
Acquired from the above by Jeremy Lancaster, 24 November 1988.
A. Bowness & L. Lambertini, Victor Pasmore: With a Catalogue Raisonné of the Paintings, Constructions and Graphics 1926-1979, London 1980, no. 141 (illustrated in colour, p. 95).
A. Grieve, Constructed Abstract Art in England: After the Second World War: A Neglected Avant-Garde, London 2005, p. 71 (illustrated in colour, p. 70, as 'Square Motif in Red, Blue, Green and Orange').
London, Redfern Gallery, Victor Pasmore, 1950-1951, no. 9, as 'Square Motif in many colours'.
London, Redfern Gallery, Summer Exhibition, 1951, no. 400n, as 'Motif in Coloured Squares'.
London, Institute of Contemporary Arts, Victor Pasmore: Paintings and Constructions 1944-1954, 1954, no. 11, as 'Square motif in red, blue, green and orange'.
London, Redfern Gallery, Summer Exhibition, 1963, no. 457, as 'Motif in Coloured Squares' and incorrectly dated '1952'.
London, Tate Gallery, Victor Pasmore: Retrospective Exhibition 1925-65, 1965, no. 84, as 'Square Motif in Red, Blue, Green and Orange'.
Birmingham, The Barber Institute of Fine Arts, Chance, Order, Change: Abstract Paintings 1939-89, 2016.
Special notice
Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.

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Tessa Lord
Tessa Lord

Lot Essay

‘It was taken for granted among the avant-garde that the most important event in British painting since the war was Victor Pasmore’s conversion, in 1948, to abstraction.’
- John Russell

Pasmore’s conversion to abstract art in 1948 had a seismic impact on British art. It is hard to comprehend the level of animosity felt between the representational and abstract artists at the time. Pasmore was one of the founding members of the Euston Road School, an institution dedicated to acute representational painting and the antithesis of abstract art. If he could be seduced by abstraction, what hope did his followers have?

Abstract in Indian Red, Crimson, Blue, Yellow, Green, Pink and Orange is an incredibly rare, pivotal painting. Completed in 1950, the composition demonstrates Pasmore’s assurance with abstraction and a distinct development from his first tentative canvases and collages of the preceding years. The geometric forms in the lower half of the canvas owe a clear debt to Paul Klee and appear to represent a landscape with a horizon, above which floats the sun, or moon, or possibly both in the form of an eclipse. Pasmore explained that he incorporated geometric forms ‘not because I wish to create a geometric art, but because these forms, being already abstracted from nature and universally recognised, have become concrete elements in themselves and, as such, lend themselves to free interpretation by the painter. In this respect, they resemble the elements of music which are not drawn from any sounds, but from carefully selected and controlled notes produced from specially constructed instruments. Thus, the painter who uses such forms must proceed, like the musician, from a limited scale to a complex construction...’ (V. Pasmore, quoted in ‘The Artist Speaks’, Art News and Review, Vol 3, No. 2, 24 February 1951, p. 3).

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