Summer Waterfall

Create your first list.

A way to share and manage lots.

  • Condition Report

    Request Condition Report
  • Provenance

    Acquired directly from the artist by the present owner

  • Catalogue Essay

    "I wanted to be a great artist, again not in slang in someone who is great. But in the fantastic, reaching the soul of other people."

    Pat Steir is an American painter and conceptual artist best known for her Waterfall paintings, a series she began working on in the 1980s which engages with ideas of chance and East Asian philosophy.

    In a career stretching over five decades, Steir has undergone multiple transformations as an artist. Graduating from the Pratt Institute in New York, she rose to fame in the 1970s with her “intimate” conceptual monochromatic canvases of crossed-out roses and other subjects, which sought to destroy images as symbols. She subsequently underwent a formative period of artistic self-reflection, immersing herself in a study of the styles and iconography of other artists, which culminated in The Brueghel Series (A Vanitas of Style) (1982–4), a pivotal work comprising 64 painted panels each reinterpreting a section of a still-life vase of flowers by Jan Breughel the Elder in the style of a different artist or school, ranging from Byzantine to Japonisme.

    In the 1980s, struck by the radical ideas of the artist, composer and close friend John Cage on integrating “chance-controlled” elements into his watercolours, prints, drawings, and musical scores (most notoriously 4’33”) Steir’s working methods pivoted dramatically. Liberating herself from the confines of imagery, she began to produce dripped, splashed and poured paintings, allowing nature and elemental forces to take charge. Steir particularly drew inspiration from the Chinese Tang dynasty yipin (逸品) painters, who rebelled against orthodox painting methods in favour of explosive bursts of energy and spontaneity, splattering or using their hands to smear ink. Setting basic parameters about palette (from around 1989–92 this was increasingly limited to monochrome) and canvas shape, Steir would begin to throw, pour and stream oil pigments of various viscosities down the upright, primed linen canvas. With different speeds, drying rates and effects for each of the multiple, diaphanous layers, the final appearance of each work was subject to infinite variations: “My idea was not to touch the canvas, not to paint, but to pour the paint and let the paint itself make the picture.” (Steir, quoted in Phyllis Tuchman, ‘Gravity’s Rainbow: Hot on the Heels of Key Showcases, Painter Pat Steir Preps Major Washington, D.C. Exhibition’, ARTnews, 30 July 2019, online).

    Summer Waterfall, executed over more than a decade, is a sublime work capturing the sensation of warm falling water. Steir explained why she has dedicated over 30 years of her life to the Waterfall series: “It’s chance within limitations […] Being more attached to the process than the conclusion, it’s an incredible freedom.” (quoted in Hilarie Sheets, ‘Pat Steir Gets Discovered, Again’, The New York Times, 18 January 2019, online). Resisting simplistic categorisation of her work as ‘abstract’, and taking her cue from the Chinese literati painters, who pursued personal erudition and expression rather than literal representation or superficially attractive beauty in their works, Steir considers her works ‘non-objective’, and herself to be fundamentally a maker of conceptual art:

    I became an artist against all odds and nobody was going to tell me what imagery is good for me” (Pat Steir, quoted in Hilarie Sheets, ‘Pat Steir Gets Discovered, Again’, The New York Times, 18 January 2019, online).

    In 2018 Steir joined a small group of elite female artists commanding seven figures at auction when Elective Affinity Waterfall (1992) sold for more than US$2.2 million at Phillips New York. Steir’s work is included in major public collections around the world, including the Metropolitan Museum of Art, Museum of Modern Art, Whitney Museum of American Art, Solomon R. Guggenheim Museum (all New York City), National Gallery of Art (Washington, D. C.), Tate Gallery (London), Walker Art Center (Minneapolis), and the San Francisco Museum of Modern Art.

  • Catalogue Essay

    「我想要成為一名偉大的藝術家,但不是以坊間傳說的形式說誰是偉大的。而是極其卓越的、觸及人們靈魂式的偉大。」

    帕特·斯蒂爾是一位美國繪畫及觀念藝術家,以其從1980年代開始創作的有關機會和東方哲學的系列繪畫《瀑布》而聞名。

    在她長達五十年的職業生涯中,斯蒂爾經歷了多次藝術上的轉型。畢業於紐約普拉特藝術學院,她憑藉自己「個人私密的」概念性單色布面繪畫而聲名鵲起,畫中描繪了被一個叉所覆蓋的玫瑰,以及其他主題,來試圖消滅意象的象徵意義。她隨後經歷了一個藝術上的自我反思的形成時期,沈浸在對其他藝術家的風格和肖像學的研究,最終完成了《勃魯蓋爾》系列(《虛空派風格》)(1982-4年),這件關鍵性的作品包含了64塊繪版,每一塊用從拜占庭到日本主義的不同藝術家或流派的風格,重新演繹了老扬·勃鲁盖尔的靜物瓶花繪畫。

    在1980年代,受到藝術家、作曲家和好友约翰·凯奇激進想法的啟發,後者將「機會控制」的元素結合到他的水彩畫、版畫、素描,以及樂譜中(尤為驚世駭俗的是「4分33秒」),斯蒂爾的創作發生了戲劇性的改變。將自己從意象的束縛中釋放,她開始創作將顏料滴落、潑濺和扔到畫布上的繪畫,讓自然和原始力量來掌控畫面。斯蒂爾尤其從中國唐代的逸品畫家處汲取靈感,那些畫家跳脫了傳統的繪畫手法,轉向能量的爆發與自發性,選擇潑濺或用手塗抹墨汁。設定好色彩的基本範圍(從大約1989年至1992年逐漸限制為單色調)以及畫布的形狀之後,斯蒂爾將各種黏稠度的油畫顏料往事先塗好底漆的直立亞麻畫布上扔擲、傾倒和流下。出於輕薄透明的每一層次所具有的不同流速、變乾的速度和效果,每件作品最終呈現的樣貌有著無限的差異:「我的想法就是不去觸碰畫布,不去畫它,而是將顏料潑下去,讓顏料自己去掌控畫面。」(斯蒂爾,引自菲利斯·圖赫曼,《萬有引力之虹:緊隨關鍵的展示,畫家帕特·斯蒂爾準備華盛頓特區舉辦的大型展覽》,ARTnews,2019年7月30日,截自網路)。

    《夏日瀑布》,以超過十年的時間創作而成,是一件捕捉了溫暖的水流傾瀉感的超凡作品。對於為何將自己超過30年的生命致力於瀑布系列的創作,斯蒂爾解釋說:「這是在限定之內的機會[...]比起結論它更傾向過程,這是一種令人難以置信的自由。」(引自希拉里·茜茲,《帕特·斯蒂爾再次被發現》),《紐約時報》,2019年1月18日,截自網路)。不希望自己的作品被簡單地定義為「抽象」,並借鑑中國文人畫家,他們所追求的是個人的博學和表達,而非作品中的字面表現或流於表象的美,斯蒂爾將其作品視作「非客觀」,而她自己從根本上來說是一名觀念藝術的創造者:

    「我好不容易成為一名藝術家,而且沒有人會告訴我什麼樣的圖像是適合我的」(帕特·斯蒂爾,引自希拉里·茜茲,《帕特·斯蒂爾再次被發現》,《紐約時報》,2019年1月18日,截自網路)。

    2018年 當她的《親和力瀑布》(1992年)在富藝斯紐約以超過220萬美元的售價成交,斯蒂爾躋身了一小撮作品在拍賣中獲得七位數的精英女性藝術家的行列。斯蒂爾的作品被全世界許多主要的公共機構所收藏,包括紐約的大都會藝術博物館、現代藝術博物館、惠特尼美國藝術博物館、所羅門·R·古根漢博物館、華盛頓國家美術館、倫敦泰特美術館、明尼亞波利斯沃克藝術中心,以及 舊金山現代藝術博物館。

Select Language

English

中文

31

Pat Steir

Summer Waterfall

2007-2018
signed with the artist's initials and dated 'P.S. 2007-2018' on the overlap
oil on canvas
304.8 x 259.1 cm. (120 x 102 in.)
Painted in 2007-2018.

Estimate
HK$3,000,000 - 5,000,000 
€349,000-581,000
$385,000-641,000

Place Advance Bid
Contact Specialist
Charlotte Raybaud
Head of Evening Sale, 20th Century & Contemporary Art

20th Century & Contemporary Art Evening Sale

Hong Kong Auction 24 November 2019