拍品专文
Quentin Laurens, holder of the droit morale, has confirmed the authenticity of this work, which will be included in the forthcoming Henri Laurens catalogue de l'oeuvre.
The exceptional provenance of Henri Laurens' Guitare sur la table clearly indicates the significance of its place within the history of Cubism. Created in 1918, the year of Laurens' first exhibition with Léonce Rosenberg's influential art gallery, this dynamic collage subsequently passed though the hands of both Christian Zervos and Jacques Dupin and represents a body of work in which the artist began to distill figurative forms into their most simplified elements. Laurens had been an early adherent to the Cubist aesthetics conceived by his friend Georges Braque, and Guitare sur la table reveals his adaptation of this formal vocabulary toward his own ends.
This composition forms part of a closely related group of papiers collés that include corrugated cardboard as an integral component of a clearly articulated planar system. The striated surface of the cardboard introduces a sculptural element into a process otherwise devised to preserve the frontality of the picture plane. Indeed, Laurens' papiers collés flourished side by side with his three-dimensional works and the close connection between these two creative practices is clearly evident in the choice of materials in this work, with buff coloured card evoking wood, black paper corresponding to metal sheet, and areas of gouache denoting his innovative use of polychromed plaster and stone.
The exceptional provenance of Henri Laurens' Guitare sur la table clearly indicates the significance of its place within the history of Cubism. Created in 1918, the year of Laurens' first exhibition with Léonce Rosenberg's influential art gallery, this dynamic collage subsequently passed though the hands of both Christian Zervos and Jacques Dupin and represents a body of work in which the artist began to distill figurative forms into their most simplified elements. Laurens had been an early adherent to the Cubist aesthetics conceived by his friend Georges Braque, and Guitare sur la table reveals his adaptation of this formal vocabulary toward his own ends.
This composition forms part of a closely related group of papiers collés that include corrugated cardboard as an integral component of a clearly articulated planar system. The striated surface of the cardboard introduces a sculptural element into a process otherwise devised to preserve the frontality of the picture plane. Indeed, Laurens' papiers collés flourished side by side with his three-dimensional works and the close connection between these two creative practices is clearly evident in the choice of materials in this work, with buff coloured card evoking wood, black paper corresponding to metal sheet, and areas of gouache denoting his innovative use of polychromed plaster and stone.