.jpg?w=1)
拍品专文
Richard Lindner's Double Portrait illuminates very well the artist's unique visual style, with the work's rich blend of European and American motifs and paradoxical amalgam of abstract and figurative elements. This work epitomizes Lindner's distinctive, unhindered mastery of paint's visual language, with its pair of extravagant, statuesque and erotically charged women.
Lindner constructed the two female forms - among the most important figures populating Lindner's unique worldview - by fusing of human and mechanical elements. His characters are often outsiders, people inhabiting society's margins: the statuesque, erotically charged woman, the chubby child prodigy, the mysterious stranger emerging from the shadows. Most important of all is the character Lindner himself most related too: the unappreciated artist and misunderstood genius. Painted in the flat style and bright palette of Pop, muscular, yet also comically feminine, their gaudy spectacles and bright blue makeup contradict the stereotypical image of female beauty and sexuality. Double Portrait is almost abstract, with its intangible shapes and bright colors. Yet we can see the influence of Leger's clear outlines and George Grosz's high-octane sexuality. All this comes together to produce a highly emotional, visually charged canvas.
Lindner owes his seemingly contradictory style to his peripatetic childhood. Growing up in both Europe and the United States exposed Lindner to an infinite variety of visual styles from which to develop his own voice. He found a freedom that built on the previous generation's liberation. As the critic Dore Ashton points out, this meant his work "partakes freely of all the resources at the command of the modern artist without prejudice. He allows for both literary and formal expressive possibilities, uses cryptic allusion, and looks both at the present and the future. Nothing is tabu [sic], nothing is beyond potential use" (D. Ashton, "Richard Lindner: The Secret of the Inner Voice," Lindner, Berkeley, 1969, p. 6).
Lindner constructed the two female forms - among the most important figures populating Lindner's unique worldview - by fusing of human and mechanical elements. His characters are often outsiders, people inhabiting society's margins: the statuesque, erotically charged woman, the chubby child prodigy, the mysterious stranger emerging from the shadows. Most important of all is the character Lindner himself most related too: the unappreciated artist and misunderstood genius. Painted in the flat style and bright palette of Pop, muscular, yet also comically feminine, their gaudy spectacles and bright blue makeup contradict the stereotypical image of female beauty and sexuality. Double Portrait is almost abstract, with its intangible shapes and bright colors. Yet we can see the influence of Leger's clear outlines and George Grosz's high-octane sexuality. All this comes together to produce a highly emotional, visually charged canvas.
Lindner owes his seemingly contradictory style to his peripatetic childhood. Growing up in both Europe and the United States exposed Lindner to an infinite variety of visual styles from which to develop his own voice. He found a freedom that built on the previous generation's liberation. As the critic Dore Ashton points out, this meant his work "partakes freely of all the resources at the command of the modern artist without prejudice. He allows for both literary and formal expressive possibilities, uses cryptic allusion, and looks both at the present and the future. Nothing is tabu [sic], nothing is beyond potential use" (D. Ashton, "Richard Lindner: The Secret of the Inner Voice," Lindner, Berkeley, 1969, p. 6).