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拍品专文
Eager to expand his horizons, Gerome Kamrowski traveled to New York from his native Midwest early in his artistic career to gain exposure to the newest trends in abstraction. Kamrowski's entrance into the thriving New York art scene coincided with that of surrealist emigrés exiled to New York, and it was not long before he counted Arshile Gorky, Jackson Pollock and William Baziotes, amongst his friends. Together, they would experiment with new methodology, materials and forms of abstraction exploring the far reaches of surrealism--and for that matter any existing style of artistic creation which had existed until then. In particular, the young artists often discussed surrealist theories on automatism.
In her book, Surrealism in Exile, Martica Sawin recounts a particular collaborative interaction in 1940-41 when "Baziotes brought Jackson Pollock over to Kamrowski's studio, and the three artists began experimenting quick-drying lacquer paint that Baziotes had bought at Arthur Brown's art supply store. They spread some cheap canvases out onto the floor and began brushing and then dripping the paint onto them. In the process of "fooling around," as Kamrowski called it, they all worked on the same canvases and during the course of the evening produced a number of collaborative spontaneous works" (M. Sawin, Surrealism in Exile, Cambridge, 1995, p. 168). Kamrowski's energy and enthusiasm did not wane as his career progressed. Scena Compestre, painted in 1954, is an excellent fully developed example of Kamrowski's fluid abstraction. Originating from his tendency towards automatism, the pink, yellow and green brushstrokes dance across the canvas, almost discernable in their forms as they take on organic shapes.
In 1946, Kamrowski returned to the Midwest to become a Professor at the University of Michigan, Ann Arbor where he would devote the remainder of his lifetime to teaching and imparting his innovative passion for creating art on his students. Gerome Kamrowski's work has been shown in numerous museums including The Museum of Modern Art, the Solomon R. Guggenheim Museum and The Whitney Museum of American Art.
In her book, Surrealism in Exile, Martica Sawin recounts a particular collaborative interaction in 1940-41 when "Baziotes brought Jackson Pollock over to Kamrowski's studio, and the three artists began experimenting quick-drying lacquer paint that Baziotes had bought at Arthur Brown's art supply store. They spread some cheap canvases out onto the floor and began brushing and then dripping the paint onto them. In the process of "fooling around," as Kamrowski called it, they all worked on the same canvases and during the course of the evening produced a number of collaborative spontaneous works" (M. Sawin, Surrealism in Exile, Cambridge, 1995, p. 168). Kamrowski's energy and enthusiasm did not wane as his career progressed. Scena Compestre, painted in 1954, is an excellent fully developed example of Kamrowski's fluid abstraction. Originating from his tendency towards automatism, the pink, yellow and green brushstrokes dance across the canvas, almost discernable in their forms as they take on organic shapes.
In 1946, Kamrowski returned to the Midwest to become a Professor at the University of Michigan, Ann Arbor where he would devote the remainder of his lifetime to teaching and imparting his innovative passion for creating art on his students. Gerome Kamrowski's work has been shown in numerous museums including The Museum of Modern Art, the Solomon R. Guggenheim Museum and The Whitney Museum of American Art.