Masaaki Yamada (Japanese, 1929-2010), 山田正亮
Work D.209 1975signed in English and Japanese, dated 1975 and with the artist label affixed on the reverseoil on canvas130 x 130 cm (51 3/16 x 51 3/16 in)
注脚
We are grateful to the Estate of Yamada Masaaki for confirming the cataloguing of the present work.ProvenanceCollection of the Artist, JapanM. Art, JapanAcquired directly from the above by the present ownerExhibitedTokyo, Koh Gallery, Yamada 1957-1978, 1978Tokyo, Satani Gallery, Masaaki Yamada 1950-1980, 1983, p. 55, illustrated in colorTokyo, M.Art, Grid Paintings from the 1970s, 2001LiteratureYamada Masaaki, Works: Yamada Masaaki, Tokyo 1990, p. 147, illustrated in color山田正亮作品D.209油彩畫布1975年作背面簽名:M.Yamada 1975 山田正亮1975年背面附藝術家標籤我們由衷感謝山田正亮遺產管理委員會確認此拍品資料來源藝術家收藏(日本)M. Art(日本)現藏家購自上述收藏展覽「山田1957-1978」,東京Koh畫廊,1978年「山田正亮1950-1980,」,東京佐谷畫廊 ,1983年,第55頁,彩圖「方格繪畫自1970年代」,東京M.Art畫廊,2001年出版《山田正亮作品集》,山田正亮,東京,1990年,第147頁,彩圖Beginning his artistic career in 1949 following the horrors of World War II, Masaaki Yamada developed his artistic skills in search for direction and control amidst the chaos of post-war Japan. Yamada's work is generally split into three distinct groups: Still-life, Work and Colour. Presented in this section are three works from his second and longest period, which stretched from 1956 until 1997, and is recognized as the core of his entire oeuvre. Through even applications of paint, Yamada renders his works with a strong philosophical approach, carried through with an intellectual, meditative and repetitive continuous working process that valued high volume production. Through his methodology, his entire artistic oeuvre can be read as one meta-painting, with each work representing a singular moment in the process.As his style developed he was included in the 4th Ecole de Tokyo exhibition in Los Angeles in 1963 and was later featured in exhibitions at the Institute of Contemporary Arts, London, and the National Museum of Art, Stockholm. A rapturously received 1978 retrospective held at the Koh Gallery in Tokyo, in which Work D.209 (lot 28) was exhibited, increased his prominence both at home and abroad. It was also exhibited at a 1983 solo exhibition held at Satani Gallery in Tokyo. In the catalogue, art curator and critic Takashi Hayami describes the artist's eight phases of creation up until the exhibition date. Work D.209 and Work D.p.244 (lot 30) fall under the phase of Painting of Intersected Planes, which includes works executed from 1974 to 1979. Often times referred to as the "grid style," works during this phase evolved from his previous bicolored stripe paintings to more logic visual experiments of intersected planes. In the same catalogue, Hayami highlights Work D.209 specifically, stating "in D-209 (1975), the planes painted in slightly reddened white and very pale blue are put alternatively in a checkered pattern in extreme close value. Here, we can also observe the intersection of the planes as a physical structure and the whole surface painted in subtle contrast of hue and in very light value." Rendered with a precise grid and minimal colour contrasts, Work D.209 is at once simple and complex, logical and ethereal.The works in this section convey a sense of spiritually, which is a concept seldom reminded in the artist's practice, but especially present in the Work D.209, a rare masterpiece by the artist that shows a matured superior balance and coherence, ultimately tracing Yamada's continuous exploration and lifelong dedication to the most fundamental elements of art.山田正亮深具精神性且令人著迷的作品,以彩色線性元素、機械性的顏料施作、以及幽微的色彩對比為其特徵。 在經歷二次大戰所帶來的驚恐之後,山田正亮於1949年開始其藝術生涯,他藉由藝術的鍛煉,企圖在戰後日本的動盪裡追尋生命的方向與控制權。山田正亮的創作生涯可分為三個不同的時期:「靜物」、「作品」、及「色彩」。此次呈現三件拍品皆來自藝術家的第二個時期「作品」,這段開始於1956年並延續至1997年的創作時期歷時最長,公認是藝術家整體創作的核心。透過均勻塗佈顏料,山田正亮賦予其作品深刻的哲思,以一種儀式性、冥想般且持續重覆的程序繪製。如此的創作方法,使得他一生的創作可以被視為一件宏大的畫作,而其中的每件作品則代表了整個歷程中的單一時刻。隨著山田正亮確立其風格,他的作品在1963年洛杉磯的展覽「第四屆東京畫派」展出,隨後亦於倫敦的當代藝術學院(Institute of Contemporary Arts)、斯德哥爾摩的國家美術館(National Museum of Art)展出。1978年,東京的康畫廊(Koh Gallery)為他舉辦的回顧展引起熱烈迴響,藝術家在日本及海外聲名鵲起,而《作品D.209》(拍品編號28)即在當時展出之列。隨後此作亦在1983年於東京佐谷畫廊(Satani Gallery)舉辦的個展裡展出。展覽畫冊中,策展人暨藝評家早見堯(Takashi Hayami)描述了藝術家到當時為止的八個創作階段,《作品D.209》及《作品D.p.244》(拍品編號30)被歸類為「平面交錯繪畫」,此階段包含了藝術家創作於1974至1979年的畫作。這群作品經常被描述為「格子風格」,發展自藝術家更早之前的雙色條紋繪畫,有著更具邏輯性、相互交錯之平面的視覺實驗。同一畫冊中,早見堯特別提出《作品D.209》,表示:「在《作品D.209》(1975)裡,由明度非常相近的微紅白色與淺藍色繪成的平面,彼此相互交錯成方格圖形。我們亦可以將平面的交會處視為一種物理性結構,而整個表面的色調展現非常細緻的對比與極淡的彩度。」以精細的格形與低限的色彩對比繪製而成,《作品D.209》兼具純粹與複雑,如此合乎理性卻又飄逸出塵。這三件作品傳達一種精神性的意志,這是在山田正亮的藝術實踐裡鮮少被提及的概念,卻在《作品D.209》中特別被影顯出來。《作品D.209》是罕見的大師鉅作,呈現成熟超凡的和諧與凝聚力,最終展現了山田正亮持續不斷地探索、奉獻給藝術最根本元素的一生。