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拍品专文
The dynamic movements of the dancing figure in Rythme d'une danseuse (Mouvement - Son - Lumière) demonstrate one of the central motifs of Gino Severini's oeuvre: dance. Dance had originally inspired Severini during his early years in Paris, with the artist experiencing first-hand the heady atmosphere of the city's dance culture, played out across the cafés, dancehalls and nightclubs of the buzzing metropolis. Through these experiences he came to realise that the dynamism and energy of the modern could be found not only in the innovations of technology and machines, but also in the frenetic actions of the human body in motion, as it participated in new dance crazes such as the Argentine Tango, the Pan-Pan and the Bear Dance.
In the 1950s Severini returned, not only to this theme of dance and the dancer, but also the techniques of Futurism and its subjects which had been central to his work from the beginning of 1911, until 1915 when he moved towards Neo-Classicism. He had also become inspired by his own daughter's studies of classical ballet, moving away from the fashionable dances he had previously depicted and began to illustrate the timelessly elegant pirouettes and arabesques of the ballerina – twirling elegantly beneath the electric lights of the stage.
In Rythme d'une danseuse (Mouvement - Son - Lumière) Severini presents to us an abstracted vision of the ballet dancer, by fracturing her silhouette into a series of vibrantly coloured geometric shapes as they radiate outwards from the centre of the composition. The shapes are arranged in a complex assemblage of interpenetrating volumes and lines, with two small elements of highly pigmented dots reminiscent of the Neo-Impressionists, and in particular the pointillist techniques of Georges Seurat. In his own words Severini explained how colour enabled him to 'express the true rhythm of the universe' and it quickly became a central aspect of his compositions (Severini, quoted in "Severini's Socks or the Dancing Colours," by John Gage, in Gino Severini, The Dance 1909-1916, exh. cat. Venice, 2011, p. 40).
This lively and enchanting oil with its large scale and effusive, bright colour palette truly captures a sense of the joyful energy that emanates from the dancer during her performance. Reaching far beyond literal representation, Rythme d'une danseuse (Mouvement - Son - Lumière), serves as a visual encapsulation of dynamism, simultaneity, and of modernity itself.
In the 1950s Severini returned, not only to this theme of dance and the dancer, but also the techniques of Futurism and its subjects which had been central to his work from the beginning of 1911, until 1915 when he moved towards Neo-Classicism. He had also become inspired by his own daughter's studies of classical ballet, moving away from the fashionable dances he had previously depicted and began to illustrate the timelessly elegant pirouettes and arabesques of the ballerina – twirling elegantly beneath the electric lights of the stage.
In Rythme d'une danseuse (Mouvement - Son - Lumière) Severini presents to us an abstracted vision of the ballet dancer, by fracturing her silhouette into a series of vibrantly coloured geometric shapes as they radiate outwards from the centre of the composition. The shapes are arranged in a complex assemblage of interpenetrating volumes and lines, with two small elements of highly pigmented dots reminiscent of the Neo-Impressionists, and in particular the pointillist techniques of Georges Seurat. In his own words Severini explained how colour enabled him to 'express the true rhythm of the universe' and it quickly became a central aspect of his compositions (Severini, quoted in "Severini's Socks or the Dancing Colours," by John Gage, in Gino Severini, The Dance 1909-1916, exh. cat. Venice, 2011, p. 40).
This lively and enchanting oil with its large scale and effusive, bright colour palette truly captures a sense of the joyful energy that emanates from the dancer during her performance. Reaching far beyond literal representation, Rythme d'une danseuse (Mouvement - Son - Lumière), serves as a visual encapsulation of dynamism, simultaneity, and of modernity itself.