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拍品专文
‘Abstract painting emerges as a pictorial art closer to music than has hitherto been possible – an art essentially plastic in forms but suggestive in effect. As the old masters talked of paintings as ‘silent poetry’, so in abstract painting we can speak of ‘visual music’.’
– Victor Pasmore
Line and Space No. 21, 1964, marks a change for Pasmore, as his focus once again returned to painting. He had been concerned, for over a decade, with breaking from the two-dimensional picture plane into the viewer’s space, exploring the intrinsic relationship between painting, sculpture and architecture through three dimensional constructed reliefs. By the mid-1960s, Pasmore returned to more traditional forms of expression, stating that, ‘I now realise that I am a painter, and quite content to paint. I’m prepared to accept that my own bent and training is not as a sculptor or architect. I’m returning to painting because I find I can go further with it’ (V. Pasmore, quoted in ‘Victor Pasmore – The Homecoming to Paint’, Studio International, 167, no. 854, June 1964, p. 227). The angular precision with which Pasmore places his lines, and the geometric nature of his work during this period, continue to carry the considerable weight and authority of his three-dimensional constructions.
In Line and Space No. 21, the combination of oil and wood with simple, incisive, sweeping gravure lines, has a balance and purity of form that Pasmore had long been searching for in his desire to create a truly abstract work of art through the synthesis of painting, sculpture, and architecture. Since the beginning of Pasmore’s exploration into the non-figurative in the late 1940s, the titles of his works have always remained purely descriptive; purposefully mundane, in a reflection, maybe, of the mechanised anonymity of the constructions, or indeed a respectful acknowledgment to the work of Mondrian, Malevich and the Bauhaus. In the introduction to Pasmore’s Tate Gallery retrospective in 1965, Ronald Alley wrote that 'Although Pasmore has covered a great deal of ground in his time there are certain qualities which are common to all his work, such as lyricism, extreme refinement of taste, and a feeling for light and space. There is behind his work a restless, inquiring intelligence which is constantly probing in different directions but, nevertheless, the work has an underlying unity’ (R. Alley (intro.), Victor Pasmore Retrospective exhibition 1925-65, exh, cat., London, Tate Gallery 1965).
– Victor Pasmore
Line and Space No. 21, 1964, marks a change for Pasmore, as his focus once again returned to painting. He had been concerned, for over a decade, with breaking from the two-dimensional picture plane into the viewer’s space, exploring the intrinsic relationship between painting, sculpture and architecture through three dimensional constructed reliefs. By the mid-1960s, Pasmore returned to more traditional forms of expression, stating that, ‘I now realise that I am a painter, and quite content to paint. I’m prepared to accept that my own bent and training is not as a sculptor or architect. I’m returning to painting because I find I can go further with it’ (V. Pasmore, quoted in ‘Victor Pasmore – The Homecoming to Paint’, Studio International, 167, no. 854, June 1964, p. 227). The angular precision with which Pasmore places his lines, and the geometric nature of his work during this period, continue to carry the considerable weight and authority of his three-dimensional constructions.
In Line and Space No. 21, the combination of oil and wood with simple, incisive, sweeping gravure lines, has a balance and purity of form that Pasmore had long been searching for in his desire to create a truly abstract work of art through the synthesis of painting, sculpture, and architecture. Since the beginning of Pasmore’s exploration into the non-figurative in the late 1940s, the titles of his works have always remained purely descriptive; purposefully mundane, in a reflection, maybe, of the mechanised anonymity of the constructions, or indeed a respectful acknowledgment to the work of Mondrian, Malevich and the Bauhaus. In the introduction to Pasmore’s Tate Gallery retrospective in 1965, Ronald Alley wrote that 'Although Pasmore has covered a great deal of ground in his time there are certain qualities which are common to all his work, such as lyricism, extreme refinement of taste, and a feeling for light and space. There is behind his work a restless, inquiring intelligence which is constantly probing in different directions but, nevertheless, the work has an underlying unity’ (R. Alley (intro.), Victor Pasmore Retrospective exhibition 1925-65, exh, cat., London, Tate Gallery 1965).