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拍品專文
The authenticity of this work has been confirmed by the artist.
A young member of the short-lived CoBrA movement, Pierre Alechinsky moved to Paris in 1952 where he forged his relationship with the Surrealist leader André Breton. Alechinsky was clearly in dialogue with the Surrealist legacy of automatism, with the rhythms of suspension and flow. In his essay on painting published in the journal CoBrA in 1951, Alechinsky describes painting as a language, emphasising the importance of discovering 'an interior writing leading to an organic discovery of the self' and a natural urge to paint 'an animal, a night, a scream, a human being' (Alechinsky, 'Abstraction' 5; Nieuwenhuys 30).
Alechinsky's link to Surrealism was both personal and historical. Born in Belgium in 1927, three years after the publication of the First Surrealist Manifesto, Alechinsky, like the Surrealists a generation earlier, came of age during a world war. Alechinsky's superimposition of historical time periods and worldviews create coexisting realities that embody the concept of Surrealist ghostliness. His Central Park (1965) was chosen by Breton for the last major Surrealist exhibition before his death.
Explored in Breton's Nadja (1928) and Georges Bataille's Histoire de l'oeil (1928) is the common Surrealist motif of the ghost. Both use the metaphor of the ghost to dramatize the relationship between ideology and dissolution: 'A spectre is haunting Europe - the spectre of Communism' (Communist Manifesto). Alechinsky uses his style to question the hierarchy of Western art that privileges the artist over the craftsman. Alechinsky's cartoon like drawing reminds the viewer that time can spiral backward as it moves forward. The impulse to deconstruct as much as to construct defies a simple chronological notion of history: like a Surrealist medium, Alechinsky conjures Europe's past in order to show how much it is haunted by its past.
Alechinsky's style, for all its magnificent force shows the recovered freedom of a child's untamed imagination, is nothing if not sophisticated. The present lot, Le délicat délinquant, is constructed by bold streaks of colour, resulting in an abstract figure that resides in the entire surface of the canvas. Despite the dramatic influx of colour, the negotiation of off-white and salmon offset with blue highlights brings balance to the composition. Influenced by the CoBrA movement, Alechinsky put much emphasis on spontaneity and impulse, thus allowing his brush to translate his emotions onto the canvas.
A young member of the short-lived CoBrA movement, Pierre Alechinsky moved to Paris in 1952 where he forged his relationship with the Surrealist leader André Breton. Alechinsky was clearly in dialogue with the Surrealist legacy of automatism, with the rhythms of suspension and flow. In his essay on painting published in the journal CoBrA in 1951, Alechinsky describes painting as a language, emphasising the importance of discovering 'an interior writing leading to an organic discovery of the self' and a natural urge to paint 'an animal, a night, a scream, a human being' (Alechinsky, 'Abstraction' 5; Nieuwenhuys 30).
Alechinsky's link to Surrealism was both personal and historical. Born in Belgium in 1927, three years after the publication of the First Surrealist Manifesto, Alechinsky, like the Surrealists a generation earlier, came of age during a world war. Alechinsky's superimposition of historical time periods and worldviews create coexisting realities that embody the concept of Surrealist ghostliness. His Central Park (1965) was chosen by Breton for the last major Surrealist exhibition before his death.
Explored in Breton's Nadja (1928) and Georges Bataille's Histoire de l'oeil (1928) is the common Surrealist motif of the ghost. Both use the metaphor of the ghost to dramatize the relationship between ideology and dissolution: 'A spectre is haunting Europe - the spectre of Communism' (Communist Manifesto). Alechinsky uses his style to question the hierarchy of Western art that privileges the artist over the craftsman. Alechinsky's cartoon like drawing reminds the viewer that time can spiral backward as it moves forward. The impulse to deconstruct as much as to construct defies a simple chronological notion of history: like a Surrealist medium, Alechinsky conjures Europe's past in order to show how much it is haunted by its past.
Alechinsky's style, for all its magnificent force shows the recovered freedom of a child's untamed imagination, is nothing if not sophisticated. The present lot, Le délicat délinquant, is constructed by bold streaks of colour, resulting in an abstract figure that resides in the entire surface of the canvas. Despite the dramatic influx of colour, the negotiation of off-white and salmon offset with blue highlights brings balance to the composition. Influenced by the CoBrA movement, Alechinsky put much emphasis on spontaneity and impulse, thus allowing his brush to translate his emotions onto the canvas.