- 9
皮耶·蒙德里安
描述
- Piet Mondrian
- 《佐特蘭教堂》
- 款識:畫家簽名 Piet Mondriaan(右下)
- 油彩畫布
- 24 3/4 x 27 1/4英寸
- 63 x 69.4公分
來源
Acquired from the above in 1954
展覽
Santa Barbara, Mondrian, 1965 (titled Zeeland Church and as dating from circa 1908)
Zurich, Mondrian, 1966 (titled Kirche in Zeeland and as dating from circa 1908)
出版
Maria Grazia Ottolenghi, L'Opera Completa di Mondrian, Milan, 1974, no. 205 (titled Chiesa Zelanda and as dating from circa1908)
Robert P. Welsh, Piet Mondrian, Catalogue raisonné of the Naturalistic Works (until early 1911), New York, no. A688, illustrated p. 455
Condition
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
拍品資料及來源
This period in Mondrian’s career was a time of intense experimentation and innovation, influenced by avant-garde movements such as Pointillism and Fauvism. Painted in bright contrasted colors using a pointillistic technique, Church in Zoutelande is a wonderful example of this early coloristic period in Mondrian’s painting, which would become increasingly abstract over the following years. Indeed after his return from Paris in 1914, where he was exposed to Cubist art, Mondrian returned to the architectural subject-matter and some of his earliest abstract compositions were inspired by church façades. Writing about the present oil, Robert P. Welsh speculated that "it was begun as a plein-air study, in part because of the cardboard mount which would have freed the artist from the need for an easel. In its finished state, this painting nonetheless represents a complete and stylistically coherent composition dominated by the bluish sky and its reflections on the church below" (Robert P. Welsh, op. cit., p. 455).