.jpg?w=1)
拍品专文
Sold with a photo-certificate from the Comité Masson.
ANDRÉ MASSON
AWAKENING THE DYNAMIC UNCONSCIOUS
“André Masson’s presence on this side of the Atlantic during the war... was of inestimable benefit to us... He, more than anyone else, anticipated the new abstract painting, and I don’t believe he has received enough credit for it.” - Clement Greenberg
André Masson’s extensive oeuvre incorporates a variety of innovative approaches and techniques, throughout his early investigations of Cubism, to his high period of Surrealism and back to nature in the 1950s where he re-entered an Impressionist style of painting. His work is direct, impassioned and psychologically charged, with subjects— or figurative suggestions—at times alternating between
the mysterious, explosive, erotic, violent, brutal, sensual, metaphysical, mythological, and classical, but always with a sense of immediacy and urgency evident in his gesture.
Masson took great interest in psychoanalytic theory, in line with his engagement with Surrealism, inspiring his investigation of automatic art-making processes and motifs exploring of the realm of the subconscious. He furthermore had a familial connection, his brother-in-law being the celebrated psychoanalyst Jacques Lacan.
Having moved to New York after the outbreak of the Second World War, Masson had a profound impact on the Abstract Expressionists who would emerge in New York in the 1940s, particularly the movement’s best-known proponent Jackson Pollock who immersed himself within the ideas of Jungian psychoanalysis, referencing archetypes and symbols in his work prior to the development of his free-form action paintings. Pollock’s ‘drip’ paintings can largely be seen to have evolved out of automatic painting ideas, Surrealist in nature and furthermore inspired by Native American sand painting.
This group of works spans Masson’s career from the early 1940s into the 1950s, showing his diversity through sculpture, mixed media and painting with examples from three private collections.
The evocative fruit of the pomegranate, at once beautiful and sensual as an image here displayed in Grenades, is employed by Masson throughout his oeuvre in different guises. An interesting subject for its evidently fleshy, bodily semblance, the pomegranate features significantly in classical mythological references, particularly in relation to the story of Persephone who famously ate a pomegranate seed and was forced by Zeus back into the underworld. The fruit is furthermore known in Greek mythology as the "fruit of the dead" having sprung from the blood of Adonis and thus, is invested with both potentially erotic and violent undertones depending on the composition, acting as a potent symbol within Masson's work. Masson frequently employed classical mythological motifs, as evident here, to draw on the underlying stories and psychological themes replayed within the human subconscious over time, as investigated by Freudian and Jungian psychoanalysis.
ANDRÉ MASSON
AWAKENING THE DYNAMIC UNCONSCIOUS
“André Masson’s presence on this side of the Atlantic during the war... was of inestimable benefit to us... He, more than anyone else, anticipated the new abstract painting, and I don’t believe he has received enough credit for it.” - Clement Greenberg
André Masson’s extensive oeuvre incorporates a variety of innovative approaches and techniques, throughout his early investigations of Cubism, to his high period of Surrealism and back to nature in the 1950s where he re-entered an Impressionist style of painting. His work is direct, impassioned and psychologically charged, with subjects— or figurative suggestions—at times alternating between
the mysterious, explosive, erotic, violent, brutal, sensual, metaphysical, mythological, and classical, but always with a sense of immediacy and urgency evident in his gesture.
Masson took great interest in psychoanalytic theory, in line with his engagement with Surrealism, inspiring his investigation of automatic art-making processes and motifs exploring of the realm of the subconscious. He furthermore had a familial connection, his brother-in-law being the celebrated psychoanalyst Jacques Lacan.
Having moved to New York after the outbreak of the Second World War, Masson had a profound impact on the Abstract Expressionists who would emerge in New York in the 1940s, particularly the movement’s best-known proponent Jackson Pollock who immersed himself within the ideas of Jungian psychoanalysis, referencing archetypes and symbols in his work prior to the development of his free-form action paintings. Pollock’s ‘drip’ paintings can largely be seen to have evolved out of automatic painting ideas, Surrealist in nature and furthermore inspired by Native American sand painting.
This group of works spans Masson’s career from the early 1940s into the 1950s, showing his diversity through sculpture, mixed media and painting with examples from three private collections.
The evocative fruit of the pomegranate, at once beautiful and sensual as an image here displayed in Grenades, is employed by Masson throughout his oeuvre in different guises. An interesting subject for its evidently fleshy, bodily semblance, the pomegranate features significantly in classical mythological references, particularly in relation to the story of Persephone who famously ate a pomegranate seed and was forced by Zeus back into the underworld. The fruit is furthermore known in Greek mythology as the "fruit of the dead" having sprung from the blood of Adonis and thus, is invested with both potentially erotic and violent undertones depending on the composition, acting as a potent symbol within Masson's work. Masson frequently employed classical mythological motifs, as evident here, to draw on the underlying stories and psychological themes replayed within the human subconscious over time, as investigated by Freudian and Jungian psychoanalysis.