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拍品专文
Flowers occupied an important place in Morandi's work throughout his career, with the earliest known example of this subject matter dating from his early teens. The present Fiori was painted in 1924, when “he turned his attention once again to reality and, having acquired a distinctive and individual voice, produced some particularly successful works. The more attentive critics detect this shift in direction from 1924” (M.C. Bandera, exh. cat., op.cit., p. 140).
Writing about the present painting and its sister piece (fig. 1), Maria Cristina Bandera notes: “As Lamberto Vitali observes, it is especially ‘in the still lifes of Fiori that Morandi discovered new accents.’ These are eloquently revealed in these two pictures both painted in 1924, although only one of them is dated by the artist. They both show freshly picked and informally arranged wild flowers and share a marked spontaneity of execution in the free and lively strokes delineating the petals. This is particularly noticeable in the red orange of the poppies formed with light, liquid touches. The lightness and fluidity of the paint, enhanced by ‘a liquid, dawn light, golden as honey,’ was noted by Marilena Pasquali in her entry on the Museo Morandi painting…The paintings differ in the choice of vase: dark, imposing, almost cylindrical, and casting a shadow in the Bologna painting. It is less monumental, and of reduced size, light and veined with vertical blue lines in the New York painting. But they especially differ in how they are positioned on the canvas. Although both are centrally placed, in the New York painting, the base of the vase is seen from the side, indicating Morandi’s rejection of a rigid frontal viewpoint” (ibid.).
Writing about the present painting and its sister piece (fig. 1), Maria Cristina Bandera notes: “As Lamberto Vitali observes, it is especially ‘in the still lifes of Fiori that Morandi discovered new accents.’ These are eloquently revealed in these two pictures both painted in 1924, although only one of them is dated by the artist. They both show freshly picked and informally arranged wild flowers and share a marked spontaneity of execution in the free and lively strokes delineating the petals. This is particularly noticeable in the red orange of the poppies formed with light, liquid touches. The lightness and fluidity of the paint, enhanced by ‘a liquid, dawn light, golden as honey,’ was noted by Marilena Pasquali in her entry on the Museo Morandi painting…The paintings differ in the choice of vase: dark, imposing, almost cylindrical, and casting a shadow in the Bologna painting. It is less monumental, and of reduced size, light and veined with vertical blue lines in the New York painting. But they especially differ in how they are positioned on the canvas. Although both are centrally placed, in the New York painting, the base of the vase is seen from the side, indicating Morandi’s rejection of a rigid frontal viewpoint” (ibid.).