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拍品专文
With its shimmering, almost luminescent, black and white surface of large, vigorous, sweeping brushstrokes, scrawls and smears gesturally applied over the canvas in an extraordinarily play of rich physical marks, Da Dove (From Where) is a large and imposing work painted by Vedova in 1984. Executed in oil over which in places splatters of fine sand have also been thrown onto the work's twin canvas panels, Da Dove is a richly visceral work whose strong painterly texture serves to reinforce an extraordinarily powerful sense of spatial drama evoked by the artist's complex gestural play of contrasts.
Seeming to articulate a battle or a physical struggle in an undetermined space between light and dark through its highly nuanced and varied use of drips, splashes, smears and scrawls of black and white paint, Da Dove an almost Baroque work in its complex articulation of fierce energy, thick material and shimmering form. It is in this respect a work that richly illustrates Vedova's strong Venetian heritage and his deep understanding of the Venetian tradition in art.
As Vedova's friend the writer and critic Wieland Schmied once observed of Vedova's art in this respect, is paintings are rooted in the artist's experience of Venice and in his own Venetian identity and heritage. Vedova's paintings Schmied wrote, 'are incredibly thrifty in terms of colours yet it is exactly there that the light of Venice comes to life. Venetian light!... It is not by chance that Emilio Vedova found and still finds himself confronted as nobody else did before him with Tintoretto, the most Venetian of all Venetian painters... it is only starting from Tintoretto that one understands Vedova, the historical scope of his art, his contemporary, traditional and revolutionary elements. Venetian light! A light that in Tintoretto's works organizes space and making it articulate, opposes the perspective yet fights against it, thus making the very notion of space irrational and inscrutable. What was clear and unambiguous for Tintoretto, here takes on many more meanings and becomes indistinct. And what prompts it all is light! A light which keeps on changing and shows its many facets; beams like bursting celestial forces, widespread light from matter, a disquieting glimpse, or fluorescent chromatism, indeed like fireworks fading away into darkness. It is as if Tintoretto had, with Baroque exaggeration, gone beyond limits imposed by the art of painting which cannot be surpassed without consequences...Light and shade. While they both play, a fragile, changing elusive depiction emerges: space. Emilio Vedova, like nobody else of his generation has intuitively understood the drama of Tintoretto, which is also his own drama, the drama of Venice, the drama of an era of deep change. Vedova analyzed Tintoretto systematically in a number of his 'studies', and eventually developed a new depiction starting from the spirit but making use of the demands of his own time: Emilio Vedova is the great architect of space amidst the "informal" artists. He is the builder disguised as a tachiste. Hidden inside him, through the strokes of his brush, in his gestures and in the mime of his figurative language, there is a secret architect, an architect of space.' (Wieland Schmied 'The Drama of Space and its Actors. Thoughts on Emilio Vedova's Paintings' reproduced in Vedova, exh. cat., Castello di Rivolli, Turin, 1999, pp. 276 and 277).
Seeming to articulate a battle or a physical struggle in an undetermined space between light and dark through its highly nuanced and varied use of drips, splashes, smears and scrawls of black and white paint, Da Dove an almost Baroque work in its complex articulation of fierce energy, thick material and shimmering form. It is in this respect a work that richly illustrates Vedova's strong Venetian heritage and his deep understanding of the Venetian tradition in art.
As Vedova's friend the writer and critic Wieland Schmied once observed of Vedova's art in this respect, is paintings are rooted in the artist's experience of Venice and in his own Venetian identity and heritage. Vedova's paintings Schmied wrote, 'are incredibly thrifty in terms of colours yet it is exactly there that the light of Venice comes to life. Venetian light!... It is not by chance that Emilio Vedova found and still finds himself confronted as nobody else did before him with Tintoretto, the most Venetian of all Venetian painters... it is only starting from Tintoretto that one understands Vedova, the historical scope of his art, his contemporary, traditional and revolutionary elements. Venetian light! A light that in Tintoretto's works organizes space and making it articulate, opposes the perspective yet fights against it, thus making the very notion of space irrational and inscrutable. What was clear and unambiguous for Tintoretto, here takes on many more meanings and becomes indistinct. And what prompts it all is light! A light which keeps on changing and shows its many facets; beams like bursting celestial forces, widespread light from matter, a disquieting glimpse, or fluorescent chromatism, indeed like fireworks fading away into darkness. It is as if Tintoretto had, with Baroque exaggeration, gone beyond limits imposed by the art of painting which cannot be surpassed without consequences...Light and shade. While they both play, a fragile, changing elusive depiction emerges: space. Emilio Vedova, like nobody else of his generation has intuitively understood the drama of Tintoretto, which is also his own drama, the drama of Venice, the drama of an era of deep change. Vedova analyzed Tintoretto systematically in a number of his 'studies', and eventually developed a new depiction starting from the spirit but making use of the demands of his own time: Emilio Vedova is the great architect of space amidst the "informal" artists. He is the builder disguised as a tachiste. Hidden inside him, through the strokes of his brush, in his gestures and in the mime of his figurative language, there is a secret architect, an architect of space.' (Wieland Schmied 'The Drama of Space and its Actors. Thoughts on Emilio Vedova's Paintings' reproduced in Vedova, exh. cat., Castello di Rivolli, Turin, 1999, pp. 276 and 277).