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拍品专文
Combining a bold colour scheme of small colour fields and energetic brushwork the present lot suggests the intensity of his feelings and the liberation of Jorn's thoughts onto canvas. Jorn first aplies these small mainly green segments, and later strengthens the composition by outlining them in a darker shade of green. Although the work in no abstration from reality, the language of the work has an almost cubist appearance. A more suggestive than descriptive work, Untitled, is a celebration of form, colour and movement that entices and invigorates the viewer. The present lot, dated 1945 is in fact a reprise of a painting he made in 1942. For an impulsive artist Jorn is following this the earlier painting strictly. Compared with the earlier version (See Guy Atkins, Jorn in Scandinavia 1930-1953, London 1968, p.58) he alters the painting in certain details. For example the birdlike creature flying in the upper centre is reshaped, however the most stricking alteration is the ommision of outlining in the centre of the work. Without the green darker partion lines the painting get a more smooth and unbounded character. In a sense Jorn experiments in a for him known composition with a new form language, that first appears in his famous Didaska series (1944-46).
Jean Dubuffet wrote about Jorn and his work: "Turmoil was his element, he was a nimble fish in that water. Some of his enterprises which he happened to mention to me during our meetings struck me as nebulous, but they later made sense in the heat of action. He was skilled at producing sense out of original chaos. In all his activities the same principle applied as in his work: thought sprang out of action, not the other way round. So his paintings took shape out of a violent disorder and incoherence. He excelled at producing a meaning during the course of creation - being careful not to intervene too much, so as not to lose anything of the spontaneous flow. He liked to keep 'meaning' speculative. He was in love with the irrational which, in all his works, he continually faced."
(in: Guy Atkins, Asger Jorn. Supplement: Paintings 1930-1973, London 1986, p. 15).
Jean Dubuffet wrote about Jorn and his work: "Turmoil was his element, he was a nimble fish in that water. Some of his enterprises which he happened to mention to me during our meetings struck me as nebulous, but they later made sense in the heat of action. He was skilled at producing sense out of original chaos. In all his activities the same principle applied as in his work: thought sprang out of action, not the other way round. So his paintings took shape out of a violent disorder and incoherence. He excelled at producing a meaning during the course of creation - being careful not to intervene too much, so as not to lose anything of the spontaneous flow. He liked to keep 'meaning' speculative. He was in love with the irrational which, in all his works, he continually faced."
(in: Guy Atkins, Asger Jorn. Supplement: Paintings 1930-1973, London 1986, p. 15).