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拍品專文
"Art is not a mirror reflecting nature, but is the very essence of man's aesthetic, imaginative, experience. Art transcends, transforms nature, creates a nature beyond nature, a supra nature, a thing in itself-its own nature, answering the deep need of man's imaginative and aesthetic being"—Richard Pousette-Dart
(R. Pousette-Dart quoted in R. Hobbs and J. Kuebler, Richard Pousette-Dart, exh. cat., Indianapolis, 1990, p. 74).
"I strive to express the spiritual nature of the universe. Painting is for me a dynamic balance and wholeness of life; it is mysterious and transcendent, yet solid and real"—Richard Pousette-Dart
(R. Pousette-Dart, quoted by K. Hubner, "Richard Pousette-Dart's Early Work and its Origins" in Richard Pousette-Dart, exh. cat., The Solomon R. Guggenheim Foundation, New York, 2007, p. 21).
Throughout his career, Richard Pousette-Dart has explored an aesthetic direction uniquely his own. His canvases are imbued with an intellect, clarity of vision and expressive intensity that remain arguably beyond the efforts of his many of his Abstract Expressionist contemporaries. As the youngest of the founding members of the New York School, it is generally granted that Pousette-Dart "holds title as the first to, as one critic put it ’paint heroically’ on a monumental scale" (L. Stokes Sims, ‘Richard Pousette-Dart and Abstract Expressionism: Critical Perspectives’ Richard Pousette-Dart, exh. cat., New York, Solomon R. Guggenheim Foundation, 2007, p. 29). In Perdido, Pousette-Dart uses swooping gestural movements across the entirety of the flat surface, adding texture and dimensionality to the paint itself. His angular tendencies create a geometric array contrasted with sharp, scratchy lines and the darkness of the surface. This contrast does not add dimensionality to the abstraction; rather, it adds a sense of weight that balances the heavy paint with thin marks that surround the forms. Perdido, the title of this work, translate as ‘lost’ in Spanish, a reference perhaps to the differences between the symbolism that Pousette-Dart employs and the manner with which he paints his active surfaces. The work also shares a title with Duke Ellington’s 1941 jazz standard, Perdido.
Finding inspiration in Oceanic, Northwest Indian and African Art, the artist wrote in his notebooks on the symbolism in his own work, "circle of spirit, square of matter, circle of G-d, square of man" (K. Hubner, quoted in "Richard Pousette-Dart's Early Work and its Origins," Ibid., p. 19). It is with a keen interest in Eastern philosophy, the teachings of Taoism and Buddhism that Pousette-Dart approached his most critical works. The philosopher Henri Bergson, an early influence on Pousette-Dart, provided a literary model for the artist in his promotion of “the creative role of intuition and it's primacy over analytical thinking” (Ibid., p. 18).
An often over-looked member of the Abstract Expressionist movement, Pousette-Dart's work is included in many important museum collections and has been the subject of numerous retrospectives, most prominently, the Whitney Museum of American Art (1963), Museum of Modern Art circulating exhibition (1969-1970), Indianapolis Museum of Art (1990-1991), the Metropolitan Museum of Art (1997-1998) and the Solomon R. Guggenheim Museum (2007).
(R. Pousette-Dart quoted in R. Hobbs and J. Kuebler, Richard Pousette-Dart, exh. cat., Indianapolis, 1990, p. 74).
"I strive to express the spiritual nature of the universe. Painting is for me a dynamic balance and wholeness of life; it is mysterious and transcendent, yet solid and real"—Richard Pousette-Dart
(R. Pousette-Dart, quoted by K. Hubner, "Richard Pousette-Dart's Early Work and its Origins" in Richard Pousette-Dart, exh. cat., The Solomon R. Guggenheim Foundation, New York, 2007, p. 21).
Throughout his career, Richard Pousette-Dart has explored an aesthetic direction uniquely his own. His canvases are imbued with an intellect, clarity of vision and expressive intensity that remain arguably beyond the efforts of his many of his Abstract Expressionist contemporaries. As the youngest of the founding members of the New York School, it is generally granted that Pousette-Dart "holds title as the first to, as one critic put it ’paint heroically’ on a monumental scale" (L. Stokes Sims, ‘Richard Pousette-Dart and Abstract Expressionism: Critical Perspectives’ Richard Pousette-Dart, exh. cat., New York, Solomon R. Guggenheim Foundation, 2007, p. 29). In Perdido, Pousette-Dart uses swooping gestural movements across the entirety of the flat surface, adding texture and dimensionality to the paint itself. His angular tendencies create a geometric array contrasted with sharp, scratchy lines and the darkness of the surface. This contrast does not add dimensionality to the abstraction; rather, it adds a sense of weight that balances the heavy paint with thin marks that surround the forms. Perdido, the title of this work, translate as ‘lost’ in Spanish, a reference perhaps to the differences between the symbolism that Pousette-Dart employs and the manner with which he paints his active surfaces. The work also shares a title with Duke Ellington’s 1941 jazz standard, Perdido.
Finding inspiration in Oceanic, Northwest Indian and African Art, the artist wrote in his notebooks on the symbolism in his own work, "circle of spirit, square of matter, circle of G-d, square of man" (K. Hubner, quoted in "Richard Pousette-Dart's Early Work and its Origins," Ibid., p. 19). It is with a keen interest in Eastern philosophy, the teachings of Taoism and Buddhism that Pousette-Dart approached his most critical works. The philosopher Henri Bergson, an early influence on Pousette-Dart, provided a literary model for the artist in his promotion of “the creative role of intuition and it's primacy over analytical thinking” (Ibid., p. 18).
An often over-looked member of the Abstract Expressionist movement, Pousette-Dart's work is included in many important museum collections and has been the subject of numerous retrospectives, most prominently, the Whitney Museum of American Art (1963), Museum of Modern Art circulating exhibition (1969-1970), Indianapolis Museum of Art (1990-1991), the Metropolitan Museum of Art (1997-1998) and the Solomon R. Guggenheim Museum (2007).