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拍品專文
“Drawing is a way of reasoning with paper” – Saul Steinberg
Influenced by a diverse range of artists including Pablo Picasso, Paul Klee, Joan Miró and George Seurat, Saul Steinberg was described by Harold Rosenberg—one of America’s most distinguished art critics—as “a virtuoso of exchanges of identity” (H. Rosenberg, quoted in “Saul Steinberg, Epic Doodler, Dies at 84,” New York Times, May 13, p. A1). He claimed his drawings were meant to be viewed not as illustrations of a doctrine of a world view but rather as experiences and for Steinberg, a drawing means to each spectator what they can find in it.
Saul Steinberg was born in Romania in 1914. In 1933, after a year studying philosophy at the University of Bucharest, he enrolled in the Politecnico in Milan as an architecture student, graduating in 1940. The precision of architectural drafting taught him the potential of a spare two-dimensional line to describe a complex three-dimensional form. During the 1930s, Steinberg applied this lesson to the cartoons he began publishing in Milan for the twice-weekly humor newspaper Bertoldo. The incisive wit of these images would distinguish much of his art, long after he abandoned the strict cartoon format. By 1940, Steinberg’s drawings were appearing in Life magazine and Harper’s Bazaar. The following year, anti-Jewish racial laws in Fascist Italy forced him to flee. While in Santo Domingo in 1941 awaiting a US visa, he started publishing regularly in The New Yorker.
Steinberg defined drawing as "a way of reasoning on paper," and he remained committed to the act of drawing in an era dominated by large-scale painting and sculpture. Throughout his long career, he used drawing to think about the semantics of art, reconfiguring stylistic signs into a new language suited to the fabricated temper of modern life. Sometimes with affection, sometimes with irony, but always with virtuoso mastery, Saul Steinberg peeled back the carefully wrought masks of 20th-century civilization.
can find in it.
Influenced by a diverse range of artists including Pablo Picasso, Paul Klee, Joan Miró and George Seurat, Saul Steinberg was described by Harold Rosenberg—one of America’s most distinguished art critics—as “a virtuoso of exchanges of identity” (H. Rosenberg, quoted in “Saul Steinberg, Epic Doodler, Dies at 84,” New York Times, May 13, p. A1). He claimed his drawings were meant to be viewed not as illustrations of a doctrine of a world view but rather as experiences and for Steinberg, a drawing means to each spectator what they can find in it.
Saul Steinberg was born in Romania in 1914. In 1933, after a year studying philosophy at the University of Bucharest, he enrolled in the Politecnico in Milan as an architecture student, graduating in 1940. The precision of architectural drafting taught him the potential of a spare two-dimensional line to describe a complex three-dimensional form. During the 1930s, Steinberg applied this lesson to the cartoons he began publishing in Milan for the twice-weekly humor newspaper Bertoldo. The incisive wit of these images would distinguish much of his art, long after he abandoned the strict cartoon format. By 1940, Steinberg’s drawings were appearing in Life magazine and Harper’s Bazaar. The following year, anti-Jewish racial laws in Fascist Italy forced him to flee. While in Santo Domingo in 1941 awaiting a US visa, he started publishing regularly in The New Yorker.
Steinberg defined drawing as "a way of reasoning on paper," and he remained committed to the act of drawing in an era dominated by large-scale painting and sculpture. Throughout his long career, he used drawing to think about the semantics of art, reconfiguring stylistic signs into a new language suited to the fabricated temper of modern life. Sometimes with affection, sometimes with irony, but always with virtuoso mastery, Saul Steinberg peeled back the carefully wrought masks of 20th-century civilization.
can find in it.