拍品專文
"Cornell was intrigued with magicians and as a self-taught wizard of the art of illusions, he probably identified with the Grand Owl. A night owl himself, Cornell often worked in his studio during the wee hours. He was fascinated by the owls' hooting calls on his nature walks...and by the dioramas at New York's Museum of Natural History" (R. Lehrman, "Living with Cornell: A Collector's View," Joseph Cornell Shadowplay...Eterniday, New York, 2003, p. 198).
Known for his magpie tendencies, Joseph Cornell regularly scoured the streets of New York searching for objects and materials that he would later incorporate into constructions and collages. The artists' chance discovery of a New York exotic pet store had a profound impact on subject matter of his work. This pet store proved to be a revelation and changed his focus to birds and owls and eventually led to an entire Aviary series, which the artist began in 1941.
Associated with the mystery of magic, vision, solitude and the darker side of nature, owls are particularly relevant to Cornell's own nocturnal sensibilities. The artist worked in solitude into the late hours of the night to create mysteries and magic in his collages and constructions. Cornell chiefly explored birds as motifs either in habitat-like dioramas, as in the present work, or Victorian bric--brac which were common in the Aviary series.
Executed in 1945, Owl Habitat resembles the dioramas of the Museum of Natural History, which the artist regularly frequented for inspiration. The present work illustrates the artist's fascination with magic and illusion, notions that are fantastically displayed by the choice of jewel-like blues and greens that evoke a mysterious and furtive setting. This ethereal environment is further romanticized by the addition of a blue-glass face, softening the forms within while creating a porthole to another parallel existence.
Known for his magpie tendencies, Joseph Cornell regularly scoured the streets of New York searching for objects and materials that he would later incorporate into constructions and collages. The artists' chance discovery of a New York exotic pet store had a profound impact on subject matter of his work. This pet store proved to be a revelation and changed his focus to birds and owls and eventually led to an entire Aviary series, which the artist began in 1941.
Associated with the mystery of magic, vision, solitude and the darker side of nature, owls are particularly relevant to Cornell's own nocturnal sensibilities. The artist worked in solitude into the late hours of the night to create mysteries and magic in his collages and constructions. Cornell chiefly explored birds as motifs either in habitat-like dioramas, as in the present work, or Victorian bric--brac which were common in the Aviary series.
Executed in 1945, Owl Habitat resembles the dioramas of the Museum of Natural History, which the artist regularly frequented for inspiration. The present work illustrates the artist's fascination with magic and illusion, notions that are fantastically displayed by the choice of jewel-like blues and greens that evoke a mysterious and furtive setting. This ethereal environment is further romanticized by the addition of a blue-glass face, softening the forms within while creating a porthole to another parallel existence.