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拍品專文
Executed in 1963, Bleu rouge gris vert is a striking example of Poliakoff’s mature style, demonstrating the unique and poetic approach to colour that the artist developed in the post-War period. Richly contrasting hues in red, blue, grey and green interlock upon the canvas in perfect harmony, in a sumptuous display of Poliakoff’s artistic dedication and skill. The title, Bleu rouge gris vert, showcases the artist’s absolute dedication to colour. Allowing the colour to speak for itself, he felt no further reference was needed. Whereas in the 1940s he experimented with brown and grey tones, he later employed bright, contrasting tones to achieve balance between verticals and horizontals whilst maintaining equilibrium between the centre and the edges of the image. Completed in the year that saw his first major retrospective at The Whitechapel Art Gallery in London, the piece was then exhibited at Documenta III in 1964, standing as a stunning example of the artist’s practice. Bleu rouge gris vert demonstrates the artist’s use of graceful asymmetry to create a peaceful atmosphere that is balanced and harmonious, through simplified and monumental forms.
The artist began to study painting whilst making a living as a musician, and he sought to apply the formal unity and dynamism that could be found in music to the visual arts. This led him to produce some of the most successful works of abstraction, placing different fields of colour alongside each other in a poised composition, as in the present work. Poliakoff studied at the Slade School of Art after relocating to London in 1935, and it was here that the artist first discovered abstract painting and the importance of layering colour. Soon after his arrival in the country, he visited the British Museum and was struck by the flat areas of colour on the painted Egyptian sarcophagi, and this proved to have a large influence on the artist’s stylistic development. Poliakoff was also influenced by the colour theory of Robert Delaunay, which explored how the relationships of colours could create sensations of spatial depth. With these varied inspirations fresh in his memory, the artist began to appreciate the emotive potential of colour and began to produce works which contrasted colour upon a flat surface. The result is a canvas that possesses a unique energy that radiates outwards, as Poliakoff speaks through the layering of tones and hues. A union of modern theory with inspiration from antiquity is demonstrated in this work, and similar examples of Poliakoff’s practice are now held in the permanent collections of Tate Modern in London, Museum of Modern Art in New York and Musée National d’Art Modern in Paris.
The artist began to study painting whilst making a living as a musician, and he sought to apply the formal unity and dynamism that could be found in music to the visual arts. This led him to produce some of the most successful works of abstraction, placing different fields of colour alongside each other in a poised composition, as in the present work. Poliakoff studied at the Slade School of Art after relocating to London in 1935, and it was here that the artist first discovered abstract painting and the importance of layering colour. Soon after his arrival in the country, he visited the British Museum and was struck by the flat areas of colour on the painted Egyptian sarcophagi, and this proved to have a large influence on the artist’s stylistic development. Poliakoff was also influenced by the colour theory of Robert Delaunay, which explored how the relationships of colours could create sensations of spatial depth. With these varied inspirations fresh in his memory, the artist began to appreciate the emotive potential of colour and began to produce works which contrasted colour upon a flat surface. The result is a canvas that possesses a unique energy that radiates outwards, as Poliakoff speaks through the layering of tones and hues. A union of modern theory with inspiration from antiquity is demonstrated in this work, and similar examples of Poliakoff’s practice are now held in the permanent collections of Tate Modern in London, Museum of Modern Art in New York and Musée National d’Art Modern in Paris.