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拍品專文
Abandonning purism in the last few years of the 1920s, Le Corbusier's art began to incorporate rounder, organic forms and, increasingly, the human figure. In the early 1930s this focus would shift almost exclusively to the female form, the trademark still-life practically disappearing altogether. Although the architectural principles which so powerfully informed his work of the 1920s have given way to a softer, more decorative aesthetic, Le Corbusier's underlying preoccupations of form and spatial relationships still play themselves out in his work of the 1930s. The artist remains true to his ideal of justifying the more complex areas of his composition with flat areas of pure colour and empty space, Le Corbusier's major architectural legacy for the twentieth century. As in the previous decade, the artist is concerned with the relationship of forms, both to each other and to the whole, substituting bottles and glasses for the human figure. Thus in Deux figures et l'aecharpe multicolore the two figures of the title fit together in a lyrical conjunction of body parts that is reflected and reinforced by the folds and twists of the scarf at the left of the composition.
In 1936 Le Corbusier spent six weeks in Rio de Janeiro consulting on Lúcio Costa and Oscar Niemeyer's Ministry of Education and Public Health building. His sketchbook during this trip demonstrates an interest in several dual figure poses of the type one sees in Deux figures et l'aecharpe multicolore, although the original idea may date back as far as 1932 when, following his trip to Algeria, Le Corbusier made similar sketches of two women embracing inspired by a postcard. Le Corbusier's first trip to Brazil had taken place in 1929, when he had been hugely impressed by the aerial views he had seen from his plane, particularly the winding rivers which may inform the ox-bowed shape of the scarf at the left. As with many of his successful subjects, Le Corbusier would reprise the composition of Deux figures et l'écharpe multicolore, first in 1943 in Deux figures Rio (Jornod 293) and later in Alma Rio of 1949 (Jornod 373).
In 1936 Le Corbusier spent six weeks in Rio de Janeiro consulting on Lúcio Costa and Oscar Niemeyer's Ministry of Education and Public Health building. His sketchbook during this trip demonstrates an interest in several dual figure poses of the type one sees in Deux figures et l'aecharpe multicolore, although the original idea may date back as far as 1932 when, following his trip to Algeria, Le Corbusier made similar sketches of two women embracing inspired by a postcard. Le Corbusier's first trip to Brazil had taken place in 1929, when he had been hugely impressed by the aerial views he had seen from his plane, particularly the winding rivers which may inform the ox-bowed shape of the scarf at the left. As with many of his successful subjects, Le Corbusier would reprise the composition of Deux figures et l'écharpe multicolore, first in 1943 in Deux figures Rio (Jornod 293) and later in Alma Rio of 1949 (Jornod 373).