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拍品專文
The present painting by Bahman Mohassess is a fine contribution to the aesthetic iconography of Venuses throughout art history. Starting in the early 16th century with Giorgione's Sleeping Venus (also known as the Dresden Venus) in which a nude woman is depicted in a graceful yet sensual pose, the long-lasting tradition of reclining Venuses can be traced throughout a number of historical paintings, namely by Velázquez, Titian, Rubens, Goya, Manet and Ingres.
In 1966, Bahman Mohassess painted a number of bathers, mostly male figures sitting by the sea. In the present work however, he depicts his own interpretation of the reclining female figure whose surrealistic features are reminiscent of those seen in Giorgio de Chirico's metaphysical compositions, revealing Mohassess' thorough knowledge of Italian art that he discovered while studying and residing in Italy. While de Chirico's sleeping figures are often depicted within an architectural space, Mohassess draws the attention of the viewer solely on the physical features of his fantasy figure, leaving space for one's imagination. The anatomy that he depicts is typical of his signature style; with his long conic legs and forearms, the absence of feet or hands or any recognisable human features, the ominous figure depicted in his solitary world becomes an alibi for the artist's exploration of form and colour and thus reveals the artist's admiration for theatre, mythology and history.
While Giorgione, Titian and Manet respectively associated their reclining figures with other characters in their composition - namely a Cupid in the original rendition of Giorgione's Venus or a black cat in Manet's Olympia - Mohassess depicts a shiny, yet disturbing, oversized lobster that intrudes the apparent serenity of the figure behind it. The creature appears hostile and threatening as if to hint to the unforeseen dangers that surround him, yet the lobster can also be a symbol of protection and rejuvenation, adding to the multiple dualities subtly explored by Mohassess in his paintings.
In the present work, Mohassess delicately pours his vision of humanity into his figurative yet mythical paintings to find refuge in his own constructed mythology. This work is one of the few masterpieces by the artist to ever appear at auction as most works from this series are in private hands and it is undeniably a remarkable example from the artist's career, a collector's piece.
In 1966, Bahman Mohassess painted a number of bathers, mostly male figures sitting by the sea. In the present work however, he depicts his own interpretation of the reclining female figure whose surrealistic features are reminiscent of those seen in Giorgio de Chirico's metaphysical compositions, revealing Mohassess' thorough knowledge of Italian art that he discovered while studying and residing in Italy. While de Chirico's sleeping figures are often depicted within an architectural space, Mohassess draws the attention of the viewer solely on the physical features of his fantasy figure, leaving space for one's imagination. The anatomy that he depicts is typical of his signature style; with his long conic legs and forearms, the absence of feet or hands or any recognisable human features, the ominous figure depicted in his solitary world becomes an alibi for the artist's exploration of form and colour and thus reveals the artist's admiration for theatre, mythology and history.
While Giorgione, Titian and Manet respectively associated their reclining figures with other characters in their composition - namely a Cupid in the original rendition of Giorgione's Venus or a black cat in Manet's Olympia - Mohassess depicts a shiny, yet disturbing, oversized lobster that intrudes the apparent serenity of the figure behind it. The creature appears hostile and threatening as if to hint to the unforeseen dangers that surround him, yet the lobster can also be a symbol of protection and rejuvenation, adding to the multiple dualities subtly explored by Mohassess in his paintings.
In the present work, Mohassess delicately pours his vision of humanity into his figurative yet mythical paintings to find refuge in his own constructed mythology. This work is one of the few masterpieces by the artist to ever appear at auction as most works from this series are in private hands and it is undeniably a remarkable example from the artist's career, a collector's piece.