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拍品專文
The Guston Foundation confirms that this lot will be included in the forthcoming catalogue raisonné of the paintings of Philip Guston.
Philip Guston’s 1960 Interior II reflects the artist’s effort to reconcile the dominance of Abstract Expressionism. The canvas’s discrete passages of color attest to Guston’s waxing affinity for an ordered approach to abstraction; the fluid passages of blended oil paint confirm his reticence to abandon the ferociousness of his earlier, more gestural efforts. Indeed, the present lot is an exercise in carefully constructed contradiction between content and execution.
Despite the painting’s title’s suggestion of a calm, static space, Interior II’s surface feels quick and alive. The smokiness of Guston’s fleeting and pan-directional grey gives depth to the composition and allows for the oranges, greens blues and reds to ebb and advance in relation to the impregnable shadowy pillars.
For Guston, abstraction provided a measure of immediacy and compositional tightness not always found in his larger works. This outstanding intimate example of Guston’s work finds the artist adapting to a mounting strain of abstract painting that he would at times adopt, and at times operate decisively alongside of. Interior II manifests Guston’s commitment to his highly personal brand of abstraction: one committed to innovation at a time when many of his contemporaries famously resisted it.
Philip Guston’s 1960 Interior II reflects the artist’s effort to reconcile the dominance of Abstract Expressionism. The canvas’s discrete passages of color attest to Guston’s waxing affinity for an ordered approach to abstraction; the fluid passages of blended oil paint confirm his reticence to abandon the ferociousness of his earlier, more gestural efforts. Indeed, the present lot is an exercise in carefully constructed contradiction between content and execution.
Despite the painting’s title’s suggestion of a calm, static space, Interior II’s surface feels quick and alive. The smokiness of Guston’s fleeting and pan-directional grey gives depth to the composition and allows for the oranges, greens blues and reds to ebb and advance in relation to the impregnable shadowy pillars.
For Guston, abstraction provided a measure of immediacy and compositional tightness not always found in his larger works. This outstanding intimate example of Guston’s work finds the artist adapting to a mounting strain of abstract painting that he would at times adopt, and at times operate decisively alongside of. Interior II manifests Guston’s commitment to his highly personal brand of abstraction: one committed to innovation at a time when many of his contemporaries famously resisted it.