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羅伊· 李奇登斯坦 (1912-1997) 景中人
香港
2021年12月01日 开拍 / 2021年11月29日 截止委托
拍品描述 翻译
羅伊· 李奇登斯坦
羅伊· 李奇登斯坦 (1912-1997)
景中人
油彩 Magna壓克力樹脂顏料 畫布
274.3 x 366.1 cm. (108 x 144 1/8 in.)
1985年作
款識: ? rf Lichtenstein 85 (畫背)
Leo Castelli Gallery, New York Douglas Cramer, Los Angeles, 1985 Private collection, New York, 2006 Private collection, 2007 Gagosian Gallery, New York Acquired by the present owner from the above, 2013 This work will be included in the Catalogue Raisonné being prepared by the Roy Lichtenstein Foundation.
拍品专文 “Lichtenstein remains an artist of absorbing contradictions. His inventiveness is rooted in imitation; he transformed the very idea of borrowing into a profoundly generative, conceptual position, one that alters the trajectory of Modernism, and beyond.” James Rondeau, President of the Art Institute of Chicago and Sheena Wagstaff, chairman of the department of Modern and Contemporary Art, Tate Modern Painted by one of the foremost figures of American Pop Art, Figures in a Landscape (1985) is a pivotal work from Roy Lichtenstein’s body of work. The artist brought together the previously divergent worlds of popular culture and high art through this monumentallyscaled canvas and calls into question the revered status of painting. Here, Lichtenstein takes the essence of painting—the sanctity of the brushstroke—and frames it within the Pop idiom. In an apparent jibe at the spontaneous and layered brushwork of Abstract Expressionism, the painting reappears as a set of frenzied strokes framed by a series of deliberate, diagonal stripes. Throughout the course of his career, Lichtenstein reinvented his signature Pop Art idiom in countless ways, finding ingenious solutions to the age-old problem of creating new work whilst adhering to his established artistic vernacular. Lichtenstein was an enthusiastic student of art history and in the 1970s, the artist tackled Modern art in his quest for reinvention, delving deep into Cubism, Surrealism, Futurism and, in this present work, Abstract Expressionism. As one of the founders of the nascent Pop Art movement, Lichtenstein’s introspective examination of Abstract Expressionism might have been seen as an attack on the practices of what was ultimately America’s first true, great art movement. Yet, Lichtenstein was at pains to point out that this was not necessarily true. “The things that I have apparently parodied I actually admire…” he once told an interviewer in 1965 (R. Lichtenstein, quoted by S. Doris, “Missing Modernism,” in J. Rondeau & S. Wagstaff, ibid.). Figures in a Landscape, distils the pictorial innovations of European Impressionists and American Abstract Expressionists through a distinctively Pop Art lens. Lichtenstein merges sharp, raking diagonals against a colour palette of vivid painterly hues. Here, Lichtenstein places a familiar nude heroine against a lush landscape. Simultaneously recalling Manet’s The Luncheon on the Grass (1863) and de Kooning’s Woman series, Lichtenstein establishes a dichotomy between the perception of high and low art as one of the essential points of his expansive oeuvre. Thus, cementing himself as a figurehead of American art in the latter half of the twentieth century. Although not expressly referenced, there is also a Duchampian element to Figures in a Landscape too. Both Lichtenstein and Duchamp were fascinated by the pop culture of the 20th century, with the former drawn to the banality of consumerism in addition to art history, appropriating the techniques of mass communication to depict the objects he observed. For Lichtenstein, the proliferation of pin up models in major advertisements served as inspiration for his artistic commentary on art history and at large society. Duchamp also takes ubiquitous objects, particularly the iconic Mona Lisa, turning her world famous likeness into his sly and equally subversive L.H.O.O.Q. Although not initiated by a concrete group of artists, Pop was characterized in the United States by a common reaction to the images employed by mass media and entertainment in the mid-20th century. Artists like Lichtenstein, Andy Warhol and James Rosenquist all approached the issue in different modes, but were united by their fascination with, and inevitable hesitance to accept without question, the inundation of advertisements and pop culture in America. Lichtenstein’s tact was to focus on images that were prevalent and cheap, but to paint them outside of their original tabloid context in order to highlight the artist’s hand as it converged nearly seamlessly with the bold, graphic style. The artist himself once said, “All painters take a personal attitude toward painting. What makes each object in the work is that it is organized by that artist’s vision. The style and the content are also different from anyone else’s. They are unified by the point of view— mine. This is the big tradition of art.” Keenly aware of art historical traditions as well as the influx of the mass media of capitalist advertising and entertainment, Figures in a Landscape is an excellent example of Lichtenstein’s ability to traverse the edges of these two mainstream modes resulted in a perfect fusion that grew into one of the most important American art movements.

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