.jpg?w=1)
.jpg?w=1)
.jpg?w=1)
.jpg?w=1)
拍品专文
Dès son retour en France en 1919, Albert Gleizes oriente son art vers la production de «Tableaux Objets» dont l’oeuvre que nous présentons est un parfait témoignage. La sombre palette de Gleizes à ses débuts s’éclaircit et, l’artiste emploie ici de larges aplats de couleurs vives et franches dans une composition emblématique des concepts théorisés par l’artiste à cette époque : le rythme et l’espace. Ces étendues colorées sont en effet fragmentées en de multiples parties - entre plans directeurs et ellipses - qui illustrent les «théories de rotation et de translation du plan» développées par l’artiste souhaitant ainsi rythmer l’espace du tableau en animant la surface plane de l’oeuvre. Gleizes développe par ailleurs ses recherches sur le rythme, par un jeu de couleurs et de formes géométriques invitant le spectateur à fixer l’élément central de l’oeuvre, autour duquel la dynamique du tableau et les mouvements s’accomplissent. C’est ce point central, plus figuratif, qui éveille par suggestion un lien plus fort avec l’objet.
Following his return to France in 1919, Albert Gleizes turned his art towards the production of ‘Object Paintings’, of which the present work is a prime example. Gleizes’ earlier somber palette has given way to altogether brighter tones, and the artist employs large areas of vibrant colour in a composition which owes much to the theoretical concepts of space and rhythm about which he wrote at this time. These coloured fields are in fact fragmented into multiple sections - either acting as directional spaces or ellipses - which illustrate the ‘theories of rotation and translation of the plane’ developed by the artist in his wish to underscore a sense of rhythm in each painting. Gleizes would develop his interest in rhythm through the interplay of colour and geometrical form which guide the spectator towards his concentration on the central object of the composition, around which the dynamics of the works and its movement is established. It is that central point, figurative in nature, which encourages a stronger sense of connection with the work.
Following his return to France in 1919, Albert Gleizes turned his art towards the production of ‘Object Paintings’, of which the present work is a prime example. Gleizes’ earlier somber palette has given way to altogether brighter tones, and the artist employs large areas of vibrant colour in a composition which owes much to the theoretical concepts of space and rhythm about which he wrote at this time. These coloured fields are in fact fragmented into multiple sections - either acting as directional spaces or ellipses - which illustrate the ‘theories of rotation and translation of the plane’ developed by the artist in his wish to underscore a sense of rhythm in each painting. Gleizes would develop his interest in rhythm through the interplay of colour and geometrical form which guide the spectator towards his concentration on the central object of the composition, around which the dynamics of the works and its movement is established. It is that central point, figurative in nature, which encourages a stronger sense of connection with the work.