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拍品專文
This painting is sold with a photo-certificate from the Comité Picabia.
For Picabia, in the late 1920s, the new freedom offered by the simultaneous and seemingly non-hierarchical imagery of the transparencies was important. 'My present feeling as regards aesthetics comes from the boredom produced by the sight of pictures that seem to me to be congealed on their immobile surfaces, far removed from anything human', he said. 'This third dimension, which is not a product of chiaroscuro, these transparencies with their secret depth, enable me to express my inner intentions with a certain degree of verisimilitude. When I lay the foundation stone, I want it to remain under my picture and not on top of it' (F. Picabia, quoted in M.L. Borràs, op. cit., p. 340).
For Picabia, in the late 1920s, the new freedom offered by the simultaneous and seemingly non-hierarchical imagery of the transparencies was important. 'My present feeling as regards aesthetics comes from the boredom produced by the sight of pictures that seem to me to be congealed on their immobile surfaces, far removed from anything human', he said. 'This third dimension, which is not a product of chiaroscuro, these transparencies with their secret depth, enable me to express my inner intentions with a certain degree of verisimilitude. When I lay the foundation stone, I want it to remain under my picture and not on top of it' (F. Picabia, quoted in M.L. Borràs, op. cit., p. 340).