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拍品專文
This work is sold with a photo-certificate from the Comité Picabia.
Picabia developed his important series of 'transparencies' in the mid-1920s, intrigued by a compositional device which allowed for a simultaneous and seemingly non-hierarchical imagery. '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. citt, p. 340).
Drawing on the profiles in silhouette of classical and Renaissance motifs, particularly portraits by Piero della Francesca and Sandro Botticelli, rendered in multi-layered and 'transparent' form, the Renaissance precedent for the present work, with the figure's distinctive nose and rich red pigments, may be Piero della Francesca's Duke of Urbino (Uffizi Gallery, Florence).
Picabia developed his important series of 'transparencies' in the mid-1920s, intrigued by a compositional device which allowed for a simultaneous and seemingly non-hierarchical imagery. '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. citt, p. 340).
Drawing on the profiles in silhouette of classical and Renaissance motifs, particularly portraits by Piero della Francesca and Sandro Botticelli, rendered in multi-layered and 'transparent' form, the Renaissance precedent for the present work, with the figure's distinctive nose and rich red pigments, may be Piero della Francesca's Duke of Urbino (Uffizi Gallery, Florence).