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拍品專文
Samy Kinge has confirmed the authenticity of this work.
Romanian-born Surrealist Brauner first developed his interest in Surrealism in Bucharest before moving to Paris in 1938. His distinctive imagery drawn from his own personal mythology captivated André Breton who propelled him into the center of the Surrealist group. Becoming involved with the Dada and Surrealist review UNU, Brauner worked alongside his compatriot Constantin Brancusi as well as Alberto Giacometti and Yves Tanguy, with whom he would forge a particularly close relationship.
Continuing to embrace his Romanian roots as well as his unique and idiosyncratic visual lexicon, Brauner would create striking images of occult, god-like figures with their own attributes and arcane powers. The present painting draws much from his interest in folk art, both through its flatness as well as the central figure which recalls ancient artforms and pictographs. The artist’s deliberate avoidance of illusionistic perspective lends a sense of spiritualism and supernatural power to the image. Additivité d’une figure dans l’espace embodies Susan Davidson’s commentary on Brauner’s interest in ancient hieroglyphic art: "An erudite man of high intellect, Brauner made paintings that often have a naïve, folk art quality. Primarily focusing on figuration—whether human, animal, occult or mythological beings—his works conversely are often realized in boldly colored abstract shapes permeated by expanses of decorative two-dimensional patterning. While his paintings often seem thematically simple and straightforward, invoking images from a child’s storybook, they are in fact underpinned by a lexicon of symbolism and archetypes that weaves an intricate tapestry of meaning" (S. Davidson, Victor Brauner: Surrealist Hieroglyphs, exh. cat., The Menil Collection, Houston, 2001, p. 9).
Romanian-born Surrealist Brauner first developed his interest in Surrealism in Bucharest before moving to Paris in 1938. His distinctive imagery drawn from his own personal mythology captivated André Breton who propelled him into the center of the Surrealist group. Becoming involved with the Dada and Surrealist review UNU, Brauner worked alongside his compatriot Constantin Brancusi as well as Alberto Giacometti and Yves Tanguy, with whom he would forge a particularly close relationship.
Continuing to embrace his Romanian roots as well as his unique and idiosyncratic visual lexicon, Brauner would create striking images of occult, god-like figures with their own attributes and arcane powers. The present painting draws much from his interest in folk art, both through its flatness as well as the central figure which recalls ancient artforms and pictographs. The artist’s deliberate avoidance of illusionistic perspective lends a sense of spiritualism and supernatural power to the image. Additivité d’une figure dans l’espace embodies Susan Davidson’s commentary on Brauner’s interest in ancient hieroglyphic art: "An erudite man of high intellect, Brauner made paintings that often have a naïve, folk art quality. Primarily focusing on figuration—whether human, animal, occult or mythological beings—his works conversely are often realized in boldly colored abstract shapes permeated by expanses of decorative two-dimensional patterning. While his paintings often seem thematically simple and straightforward, invoking images from a child’s storybook, they are in fact underpinned by a lexicon of symbolism and archetypes that weaves an intricate tapestry of meaning" (S. Davidson, Victor Brauner: Surrealist Hieroglyphs, exh. cat., The Menil Collection, Houston, 2001, p. 9).