“The tower was his liberated muse, his Eve of the future… The Tower addresses the universe.”
—Sonia Delaunay
Robert Delaunay was four years old when the Eiffel Tower was erected in Paris in the public green space known as the Champ de Mars for the 1889 the Paris International Exposition; with its soaring wrought iron girders, the tower stood as a symbol of progress, innovation, and modernity. Scaffolding upon its progressive reputation, Delaunay explored the developments of Cubist fragmentation in his renditions of the tower, presenting the landmark and its surrounding buildings from various perspectives simultaneously. In La Tour (The Tower)—a lithograph based on a painting presently in the collection of the Solomon R. Guggenheim Museum—the tower becomes mountainous through Delaunay's eye, infused with the dynamism of modern life: the structure’s towering presence is accentuated by framing it with tall buildings and placing smaller, shorter buildings – rendered from a more aerial perspective – at its base. As a result, the tower seems to soar, bending and distorting the surrounding city as it climbs into a fractured sky. Meanwhile, the buildings bracketing the tower frame the image like window drapery.
Like the soaring vaults of Gothic cathedrals, the Eiffel Tower is a uniquely French symbol of invention and aspiration; Delaunay’s La Tour celebrates the enthusiastic feeling for progress that pervaded the modern Parisian metropolis, just as the sight of the monumental structure itself remained visible throughout the capital city.
來源
Henri M. Petiet (畫背鈴印 Lugt 5031) 瑞士伯恩,Galerie Kornfeld,2013 年 6 月 13 日,拍品編號 289
1925年作 石版畫 奶色日本紙本(全包邊) I. 24 1/4 x 17 1/2 英吋(61.6 x 44.5 公分) S. 25 5/8 x 20 英吋(65.1 x 50.8 公分) 款識:簽名 R. Delaunay、epreuve d'artiste(版畫)標題、日期(石) 尚有少量版本,此為未裱鉻刻版。