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拍品專文
Painted in 1947, de Staël's Composition represents the re-vitalisation of his life and work after a period of depression and struggle. Prior to 1947, de Staël had entered a severe state of both emotional and financial difficulty. His long term partner, Jeannine Gillou, died in early 1946, and as she was a practicing artist herself, de Staël found himself devoid of the artistic support that he had grown accustomed to and had depended upon. Furthermore, in addition to coping with this monumental loss, de Staël had little financial success, and struggled to get by. What money he did have, he spent on large quantities of paint that he would use to embark on his now signature style of abstract art, characterized by thick impasto and forcefully worked texture, prevalent in works such as Composition.
Despite the loss and financial difficulties, the events of 1947 would bring certain success and inspiration to de Staël. In August of 1946 he became friends with the Russian artist, André Lanskoy, and the two would spend many hours discussing painting together. Lanskoy's heavily worked and colourful abstract composition were of great interest to de Staël, and his influence is apparent in the feeling of energy and movement created by the overlapping fields of colour that pull and twist the constructed space in different directions.
Shortly after their meeting, Lanskoy introduced his new friend to the successful art dealer, Louis Carré, who quickly made an oral contract with de Staël, bringing recognition and financial relief to the struggling artist. With economic comfort at hand in early 1947, de Staël moved into an immense studio at rue Gauguet, very close to George Braque's studio, whom he had met the previous year at Guillou's funeral. The shapes and colours in Composition are reminiscent of Braque's later cubist works, and illustrate the influence de Staël's new neighbor had on him.
In June, de Staël visited the first major exhibition of contemporary art since the war, organised by Christian and Yvonne Zervos in Avignon, and was impressed and inspired by the work of his contemporaries, most significantly, Braque and Lapique. The latter, also represented by Carré, and renowned for his exploration with colour and spatial construction became of particular interest to de Staël. Lapique's influence is evident in de Staël's progression to more vibrant colours that he began to use in order to create a more pronounced sense of depth, as perceived in Composition.
De Staël had achieved a newfound sense of freedom from his recent financial success and improved working conditions. This liberty, along with the visual and theoretical influence that he had gleaned from his new friendships with Braque, Lanskoy and Lapique forged the way for de Staël's lively new abstractions. In Composition, the distressed and static qualities of his earlier work begins to dissolve, and the structure, expressive colour and energy that he had learned from his new friends is embraced.
Despite the loss and financial difficulties, the events of 1947 would bring certain success and inspiration to de Staël. In August of 1946 he became friends with the Russian artist, André Lanskoy, and the two would spend many hours discussing painting together. Lanskoy's heavily worked and colourful abstract composition were of great interest to de Staël, and his influence is apparent in the feeling of energy and movement created by the overlapping fields of colour that pull and twist the constructed space in different directions.
Shortly after their meeting, Lanskoy introduced his new friend to the successful art dealer, Louis Carré, who quickly made an oral contract with de Staël, bringing recognition and financial relief to the struggling artist. With economic comfort at hand in early 1947, de Staël moved into an immense studio at rue Gauguet, very close to George Braque's studio, whom he had met the previous year at Guillou's funeral. The shapes and colours in Composition are reminiscent of Braque's later cubist works, and illustrate the influence de Staël's new neighbor had on him.
In June, de Staël visited the first major exhibition of contemporary art since the war, organised by Christian and Yvonne Zervos in Avignon, and was impressed and inspired by the work of his contemporaries, most significantly, Braque and Lapique. The latter, also represented by Carré, and renowned for his exploration with colour and spatial construction became of particular interest to de Staël. Lapique's influence is evident in de Staël's progression to more vibrant colours that he began to use in order to create a more pronounced sense of depth, as perceived in Composition.
De Staël had achieved a newfound sense of freedom from his recent financial success and improved working conditions. This liberty, along with the visual and theoretical influence that he had gleaned from his new friendships with Braque, Lanskoy and Lapique forged the way for de Staël's lively new abstractions. In Composition, the distressed and static qualities of his earlier work begins to dissolve, and the structure, expressive colour and energy that he had learned from his new friends is embraced.