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巴布羅 · 畢加索
描述
- 巴布羅·畢加索
- 《風景》
- 款識:畫家簽名Picasso(左上);紀年27.5.65.(背面)
- 油彩畫板
- 4 5/8 x 45 1/2 英寸
- 87.9 x 115.5 公分
來源
拍賣:倫敦佳士得,1989年11月27日,拍品編號64A
購自上述拍賣
出版
拍品資料及來源
Paysage depicts Mougins in swirling strokes of blue, green, yellow and pink pigment. Like many of Picasso's unpopulated views of the town, this canvas is a continuation of the pastoral theme that dominated his oeuvre between 1966 and 1968. While there are no figures in these works, they share to some extent the bucolic feel that characterizes Picasso's paintings of couples, nudes and fauns comporting themselves in the landscape. These late visions of Arcadian harmony are indicative of the ageing artist's desire to retreat from civilization and towards a rural idyll which mingled both classical Greece and the artist's childhood memories from rustic Spain.
Picasso's Arcadia, however, was not a simple vision of innocence but contains a darker undercurrent. As in so many of the works from Picasso's late period, there is another artist persona present, in this case, Van Gogh. For Picasso, the Dutch artist exemplified artistic sincerity; Van Gogh's psychological intensity and spiritual tumult effectively isolated him from contamination by the pressures of commerce and fame. Thus, as Picasso sought to distance himself from his own celebrity, he turned towards the convulsive landscapes of his predecessor. The kinetic brushwork of Paysage gives the paint surface a freedom and spontaneity that certainly suggests a debt to the expressive fervor of Van Gogh's technique. However, the connection between the two artists at this point in Picasso's life went deeper than a mere artistic identification. As John Richardson observed, "The more one studies these late paintings, the more one realizes that they are, like Van Gogh's terminal landscapes, a supreme affirmation of life in the teeth of death" (J. Richardson, Late Picasso, Paintings, Sculpture, Drawings Prints 1953-1972 (exhibition catalogue), Tate Gallery, London, 1988, p. 34).