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拍品专文
Monsieur Quentin Laurens, holder of the droit morale for the work of Henri Laurens, has kindly confirmed this work is registered in his archives.
'I compose my forms and rhythms by equivalences and oppositions, in directions and dimensions perfect for furnishing an intensity of representation and aimed at the inherent life of the work itself - in other words, creating and not imitating or interpreting' (Henri Laurens, quoted in Henri Laurens, le cubisme, constructions et papiers collés, 1915-1919, exh. cat., Paris, 1985, p. 9).
Executed in 1916, La bouteille is one of a series of exquisite papiers collés which the pioneering Cubist sculptor, Henri Laurens, produced during the period 1915-1918. These were years of intense experimentation for Laurens who, responding to the Cubist explorations of Pablo Picasso and Georges Braque, created papiers collés and three dimensional assemblages that challenged conventional representational norms. Braque, a close life-long friend of Laurens had a profound effect on his artistic development and, in turn, Laurens' use of materials and exploration of their plastic possibilities suggested to Braque new ways of working (see Braque-Laurens, un dialogue: autour des collections du Centre Pompidou, Musée national d'Art moderne et du Musée des beaux-arts de Lyon, exh. cat., Paris, 2005). As so clearly illustrated by La bouteille, Laurens' papiers collés were often both bolder and more geometric than those produced by either Braque or Picasso and, unlike other Cubist sculptors such as Alexander Archipenko, the technique of collage played a significant role in the development of his oeuvre.
The majority of Laurens' papiers collés are still lifes depicting musical instruments, bottles and glasses. As Laurens made clear, 'we were only interested in the object for itself. We saw no other problem than that posed by a pure search for feeling, for a sensation of volume' (Laurens, quoted in Henri Laurens, exh. cat., Rome, 1980, p. 18). Similar to his still life Bouteille et verre of 1917 (Tate Modern), La bouteille is composed of carefully arranged and precisely cut sheets of paper, enlivened by the introduction of chalk and charcoal. The varied textures, tactility and play between solid and void indicate that Laurens approached his papiers collés from a sculptural point of view. Indeed, La bouteille, in terms of both motif and articulation can be compared to his three-dimensional Bouteille et verre of 1918 (Centre Georges Pompidou). Fascinated by these works, the poet Pierre Reverdy noted that in his papiers collés Laurens revealed, 'the exceptional qualities of finesse and purity of his exquisite nature' (Reverdy, quoted ibid.).
'I compose my forms and rhythms by equivalences and oppositions, in directions and dimensions perfect for furnishing an intensity of representation and aimed at the inherent life of the work itself - in other words, creating and not imitating or interpreting' (Henri Laurens, quoted in Henri Laurens, le cubisme, constructions et papiers collés, 1915-1919, exh. cat., Paris, 1985, p. 9).
Executed in 1916, La bouteille is one of a series of exquisite papiers collés which the pioneering Cubist sculptor, Henri Laurens, produced during the period 1915-1918. These were years of intense experimentation for Laurens who, responding to the Cubist explorations of Pablo Picasso and Georges Braque, created papiers collés and three dimensional assemblages that challenged conventional representational norms. Braque, a close life-long friend of Laurens had a profound effect on his artistic development and, in turn, Laurens' use of materials and exploration of their plastic possibilities suggested to Braque new ways of working (see Braque-Laurens, un dialogue: autour des collections du Centre Pompidou, Musée national d'Art moderne et du Musée des beaux-arts de Lyon, exh. cat., Paris, 2005). As so clearly illustrated by La bouteille, Laurens' papiers collés were often both bolder and more geometric than those produced by either Braque or Picasso and, unlike other Cubist sculptors such as Alexander Archipenko, the technique of collage played a significant role in the development of his oeuvre.
The majority of Laurens' papiers collés are still lifes depicting musical instruments, bottles and glasses. As Laurens made clear, 'we were only interested in the object for itself. We saw no other problem than that posed by a pure search for feeling, for a sensation of volume' (Laurens, quoted in Henri Laurens, exh. cat., Rome, 1980, p. 18). Similar to his still life Bouteille et verre of 1917 (Tate Modern), La bouteille is composed of carefully arranged and precisely cut sheets of paper, enlivened by the introduction of chalk and charcoal. The varied textures, tactility and play between solid and void indicate that Laurens approached his papiers collés from a sculptural point of view. Indeed, La bouteille, in terms of both motif and articulation can be compared to his three-dimensional Bouteille et verre of 1918 (Centre Georges Pompidou). Fascinated by these works, the poet Pierre Reverdy noted that in his papiers collés Laurens revealed, 'the exceptional qualities of finesse and purity of his exquisite nature' (Reverdy, quoted ibid.).