(1933 Taichung 2011) Painting Relief 13 September 1965. 1965. Oil, aluminium and perspex on canvas. Signed on the overlap: LIN. Also signed, dated, with measurements and directional arrows on the stretcher: LIN 13-SEPTEMBER-1965 50×60. 127 × 152.5 cm. Provenance: - Marlborough Gallery, London (verso with the label). - Purchased from the above by the previous owner, private collection Switzerland. - By descent to the present owner, also private collection Switzerland. Exhibition: London 1966, Richard Lin. Marlborough Fine Art Gallery, March-April 1966, p. 2, no. 18 (with b/w ill.). “White is the most mundane of colors, and the greatest of all colors: it is the most colorless and the most colorful: it is the most noble color and the most common color: it is the most tranquil color, and the saddest color too ... white in and of itself is many colors: it can be thicker, thinner, heavier, lighter, transparent, semi-transparent ... which means that with white and white, you can construct many strange and wonderful relationships of shapes and shapes, or spaces and spaces.” Richard Lin The British Minimalist Richard Lin was born in 1933, in Taiwan, which at the time was under Japanese control. From 1939 to 1944 he attended Japanese schools, but in 1944 switched to a Chinese secondary school which he attended for four years, and then in 1949 moved to Hong Kong to study English. In 1952 he emigrated to England, where he became a British subject in 1963. In 1958, Lin graduated in art, architecture, and art history from Regent Street Polytechnic in London. One year later he had his first solo show at Gimpel Fils gallery in London. In 1964 he took part in documenta III and began teaching at Ravensborne College in 1965. Lin was represented by the influential Marlborough Gallery. In 1966 he won the Arts Council of Ireland Painting Exhibition Prize, followed by the William Frew Memorial Prize in Pittsburgh in 1967 and the Prize for Sculpture from the Museum of Fine Arts in Taipei in 1985. Richard Lin left England in 1981 and lived in**again until his death in 1988. Richard Lin became famous for his predominantly white "relief paintings". He painted several layers on top of one another, allowing each layer to dry before applying the next, so that the white, monochrome canvas nevertheless showed colour differences and edges. With the canvas prepared in this way, he would then apply his reliefs. In the present work from "13 September 1965", there are 2 vertical bars in the upper third of the canvas: on the left, an elongated piece of aluminium with a narrow black stripe painted on its right side on the right, a white piece of Plexiglas, complemented on the right by a narrow strip of aluminium. They border a white square on the right, left and bottom, created by the multiple application of paint. Lin skilfully plays with the viewers perception. Both the canvas, which is not uniformly white, and the different materials of the reliefs unsettle us and cause us to check our assumptions about our visual experience. Looking at the work, we suppose that it is a monochrome white painting and also that the reliefs are identical — but neither is true the individual reliefs are the same length, but differ in width, height and material. Recognising this is unsettling and challenges the viewer to check and adjust their preconceptions. "Relief Painting 13 September 1965" is an outstanding example of Richard Lins expert handling of the relationship between painting and architecture, and at the same time between Western and Eastern art traditions. RICHARD LIN (1933 Taichung 2011) Painting Relief 13 September 1965. 1965. ?l, Aluminium und Plexiglas auf Leinwand. Auf der überlappenden Leinwand signiert: LIN. Zudem auf dem Keilrahmen signiert, datiert, mit Mass - und Richtungsangaben: LIN 13-SEPTEMBER-1965 50×60. 127 × 152,5 cm. Provenienz: - Marlborough Gallery, London (verso mit dem Etikett). - Vom Vorbesitzer bei obiger Galerie erworben, Privatsammlung Schweiz. - Durch Erbschaft an den heutigen Besitzer, ebenfalls Privatsammlung Schweiz. Ausstellung: London 1966, Richard Lin. Marlborough Fine Art Gallery, M?rz-April 1966, S. 2, Nr. 18 (mit s/w-Abb.). ?White is the most mundane of colors, and the greatest of all colors: it is the most colorless and the most colorful: it is the most noble color and the most common color: it is the most tranquil color, and the saddest color too ... white in and of itself is many colors: it can be thicker, thinner, heavier, lighter, transparent, semi-transparent ... which means that with white and white, you can construct many strange and wonderful relationships of shapes and shapes, or spaces and spaces.“ Richard Lin Der britische Minimalist Richard Lin wird 1933 in Taiwan, das zu dieser Zeit unter japanischer Herrschaft steht, geboren. Von 1939 - 1944 besucht er japanische Schulen, wechselt 1944 für vier Jahre auf eine chinesische Oberschule, um dann 1949 zum Englisch-Studium nach Hongkong zu ziehen. 1952 emigriert er nach England, wo er 1963 eingebürgert wird. Im Jahr 1958 schliesst Lin sein Studium der Kunst, Architektur und Kunstgeschichte am Regent Street Polytechnikum in London ab. Ein Jahr sp?ter folgt seine erste Einzelausstellung in der Galerie Gimpel Fils, London. 1964 nimmt er an der documenta III teil und beginnt 1965 seine Lehrt?tigkeit am Ravensborne College. Lin wird durch**einflussreiche Marlborough Gallery vertreten. 1966 gewinnt er den Preis der Malerei Ausstellung vom Arts Council Ireland, 1967 folgt der William-Frew-Ged?chtnis Preis in Pittsburgh und 1985 der Preis für Skulptur des Museums für Sch?ne Künste in Taipeh. 1981 verl?sst Richard Lin England und lebt bis zu seinem Tod 1988 wieder in Taiwan. Berühmt wird Richard Lin durch seine überwiegend weissen ?Relief Paintings“. Er malt diverse Schichten übereinander, l?sst jede Schicht vor dem Auftrag der N?chsten trocknen, wodurch**weisse, monochrome Leinwand doch Farbunterschiede und -kanten aufweist. Auf der so pr?parierten Leinwand bringt er seine Reliefs an. Im vorliegenden Werk vom ?13. September 1965“ befinden sich im oberen Drittel der Leinwand 2 vertikale Balken: links ein l?ngliches Aluminiumstück, auf dessen rechter Seite ein schmaler schwarzer Streifen gemalt ist rechts ein weisses Plexiglasstück, das rechts durch einen schmalen Aluminiumstreifen erg?nzt ist. Sie grenzen rechts, links und unten an ein weisses Quadrat an, welches durch den mehrfachen Farbauftrag entstanden ist. Eindrücklich spielt Lin mit der Wahrnehmung des Betrachters. Sowohl**nicht einheitliche weisse Leinwand als auch**unterschiedlichen Materialien der Reliefs irritieren uns und lassen uns unser angenommenes Seherlebnis überprüfen. Beim Betrachten des Werkes gehen wir davon aus, dass es sich um ein monochrom weisses Gem?lde handelt und auch, dass**Reliefs identisch sind - beides trifft aber nicht zu.**einzelnen Reliefs sind zwar gleich lang, aber abweichend in Breite, H?he und Material.**Erkenntnis dieser Beobachtung führt zur Irritation des Betrachters und fordert ihn heraus, seine vorgefasste Wahrnehmung zu kontrollieren und anzupassen. ?Relief Painting 13. September 1965“ ist ein herausragendes Beispiel für Richard Lins meisterhaften Umgang mit den gleichzeitigen Einflüssen von Malerei und Architektur und von westlicher und ?stlicher Kunsttradition.
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