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全球拍卖首页 > Heritage Auctions > 美国艺术签名?拍卖 > Lot 67119
George Tooker (American, 1920-2011). Un Ballo in Maschera, 1982. Tempera on gessoed board laid on boar...
美国 北京时间
2022年05月11日 开拍 / 2022年05月09日 截止委托
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拍品描述 翻译
George Tooker (American, 1920-2011)
Un Ballo in Maschera, 1982
Tempera on gessoed board laid on board
21-7/8 x 30 inches (55.6 x 76.2 cm)
Signed lower right: Tooker
PROVENANCE:
The artist;
Marisa Del Re Gallery, New York, 1982;
Private collection;
Sotheby's, New York, December 5, 1991, Lot 112;
Vance Jordan Fine Art, New York, until 2001;
Private collection, Massachusetts, acquired from the above.
EXHIBITED:
Columbus Museum of Art, Columbus, Ohio and elsewhere, "Circulating exhibition: George Tooker: A Retrospective," 2008-2009.
LITERATURE:
T.H. Garver, George Tooker, San Francisco, California, 1992, p. 137;
R. Cozzolino, M.N. Price, M.M. Wolfe, George Tooker: A Retrospective, London and New York, 2008, p. 160, pl. 54, illustrated.
Over the course of his career, George Tooker mastered the art of portraying evocative psychological images in a dreamlike, surrealist style using the traditional medium of egg tempera. Like his friends and fellow artists Paul Cadmus and Jared French, Tooker employed neoclassical techniques in his work while remaining unequivocally modern. Characterized by exacting detail and a representational technique, Tooker's oeuvre can be divided into two groups: his public paintings-social images filled with pedestrians within an urban forum, such as Coney Island or a subway platform, and his private paintings that depict figures within distinctly intimate interior spaces. A compelling example of the latter category, Un Ballo in Maschera employs the artist's mastery of tempera to create an immersive, fantastical environment that transports the viewer into his imagined, haunting world.
Tooker was born in Brooklyn and, after graduating from Harvard University with an English degree in 1942 and enlisting in the Officer Candidates School, United States Marine Corps (he was discharged for medical reasons), Tooker then studied at the Art Students League in New York from 1943 to 1945 under the artists Reginald Marsh and Kenneth Hayes Miller. Tooker met Paul Cadmus at the Art Students League and through Cadmus was introduced to Jared and Margaret French, all of whom would work together, collaborate and become lifelong friends in the ensuing decades. Through his connection with Cadmus and French, Tooker also became closely acquainted with Monroe Wheeler and Lincoln Kirstein, both of whom had strong ties to the nascent Museum of Modern Art, New York. In 1946, in large part due to Kirstein's influence, Tooker was included in the groundbreaking exhibition "Fourteen Americans" curated by Dorothy Miller, at The Museum of Modern Art, which was a significant success in his early career.
Three years later, following a half year of travel through Italy and France studying old masters and architecture with Cadmus, Tooker participated in the exhibition "Symbolic Realism," 1949-50, organized by Kirstein, which brought him further recognition. That same year, The Subway (tempera on panel, 1950) was acquired by the Whitney Museum of American Art in New York. He had his first solo exhibition the following year at the Edwin Hewitt Gallery, New York.
Like Cadmus and French, Tooker was categorized by art critics as a "Magic Realist," though he resisted this label. He said of his work, "I am after painting reality impressed on the mind so hard that it returns as a dream, but I am not after painting dreams as such, or fantasy." Describing his process, he noted, "I don't really think I'm a creator. I feel that I'm a passive vessel, a receptor or translator . . . The fascinating thing about painting is the discovery." Tooker's work gradually fell out of the spotlight with the ascent of Abstract Expressionism, Pop Art and Minimalism in the decades following the 1950s, though he continued to paint in the assiduous style he had developed during his early career. The death of his partner, the artist and activist William R. Christopher, in 1973, prompted his conversion to Catholicism and a deeper spirituality in his work thereafter.
Tooker's work was rediscovered during the 1980s and his appeal widened starting with his representation by DC Moore Gallery in New York in the late 1990s, and the exhibition "George Tooker: A Retrospective," at the National Academy Museum, New York; Pennsylvania Academy of the Fine Arts, Philadelphia; and Columbus Museum of Art, Ohio, in 2008-09. He spent the last decades of his career focusing on his art and spiritual life in relative solitude at his home in rural Vermont. Tooker received the prestigious National Medal of Arts in 2007; he died at home in April 2011.
Although Tooker had begun to experiment with egg tempera early in his career through Marsh at the Art Students League, it was both Cadmus and French who encouraged him to adopt it as his primary medium. The technique had close ties to Renaissance painting, which all three artists emulated, and was the primary panel painting medium for nearly every painter in the European Medieval and Early Renaissance period up to 1500. Tempera is a quick-drying, tedious and unforgiving method of painting that is hard to change after being applied. This deliberate method suited Tooker's disposition and artistic theory. He spent several intensely-focused hours each day, most days a week, for roughly four months fine-tuning each piece, slowly and deliberately building up color and dimension. He mixed his colors by hand, using water, egg yolk and powdered pigment. Tooker's images convey a sense of overwhelming silence, as in the current painting, and the figures he depicts are rarely overcome by emotion and seldom convey individuality.
Superb in its meticulous attention to detail, Un Ballo in Maschera at once recalls the work of Northern Renaissance masters, such as Jan Van Eyck and Robert Campin, with its flattened perspective and costumed figures. Indeed, even the concept of a masked ball harkens back to earlier times when these parties were de rigueur in social circles ranging from Italy to England, and elsewhere. Though his historical influence cannot be denied, Tooker's work possesses the remarkable ability to recall Old Masters in such a way that immediately communicates his contemporary experiences. At the same time, he foreshadows the work of contemporary masters of figuration, such as David Hockney. With every detail and shape meticulously rendered yet the exact meaning behind the composition left ambiguous, Un Ballo in Maschera embodies "the power of the figurative tradition to engage both a humanist compassion and a shared wonder in the enigmatic qualities-the mysteries-of human experience." (M.M. Wolfe, "George Tooker: A Biography," in George Tooker, exhibition catalogue, Columbus, Ohio, 2008, p. 35)
Condition Report*: Framed under glass. Faint 1 1/2 inch thin scratch in the upper right corner. Minor frame abrasion, not visible in current framing. Framed Dimensions 32 X 40 Inches

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