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拍賣 2023年10月12日
\n英國夏令時間下午1:00
\n

\n\n

倫敦伯克利廣場30號 W1J 6EX（地圖）
\n

\n\n

預展 10月4至13日
\n星期一至六上午10:00-下午6:00
\n星期日下午12:00-下午6:00
\n星期二上午10:00-下午8:00
\n

\n","auctionDetailsSmall","倫敦拍賣 2023年10月12日","extraInfo","

Charlotte Gibbs
\n副專家
\n+44 73931 41144
\ncgibbs@phillips.com
\n

\n\n

Simon Tovey
\n副總監暨專家
\n+44 20 7318 4084
\nstovey@phillips.com
\n

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Jean Dubuffet, Mire G 95 (Kowloon), 1983. 20th Century & Contemporary Art Day Sale, London.

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Between February 1981 and January 1982, Jean Dubuffet produced 500 small paintings on paper without interruption. The artist retrospectively named these works Psycho-sites, a title that emphasizes their common theme: an indeterminate site — or place — inhabited by unspecific characters. In Site avec 6 personnages, as well as in the entire series, forms are blurred and decomposed. The spatial relationship between the various elements is erratic, creating a composition charged with disordered tension. The figures, with their primitive contours, appear to float in a delimited but abstract space.

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Jean Dubuffet, Site avec 6 personnages, 1981. 20th Century & Contemporary Art Day Sale, London.

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In the introduction to Fascicule XXXIV of his catalogue raisonné, Dubuffet explains: “these [paintings] are ideas of characters who populate ideas of sites ... an enterprise aimed at escaping [from the reasonable], at freeing the figuration and hence the vision.” In that respect, the artist's cursive pictorial language aims to relativize the physical status of the Psycho-sites, thus highlighting their imagined status. Through these experimental compositions featuring bold colors Dubuffet questions our ability to see reality, and the rational framework with which we decipher the world. Do our eyes really see? Can we equate reality with the vision of things surrounding us? Is our desire to analyze our chaotic universe futile?

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Jean Dubuffet, Mire G 95 (Kowloon), 1983. 20th Century & Contemporary Art Day Sale, London.

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In Dubuffet’s following Mires series which began in February 1983, the artist further extended his attempts to take a renewed perspective of the world. In Mire G 95 (Kowloon), the figures have practically disappeared, and the sites are left completely undetermined. Bordering on abstraction, the composition evokes nothing that can be strictly named. The large and the small, lines and curves, voids and volumes mingle, prompting viewers to forget “everything we have been taught to name.”

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Dubuffet added the term “Kowloon” to the titles of his early Mires, a reference to the Chinese citadel destroyed in the early 1990s. Their bright yellow backgrounds are indeed reminiscent of bright Hong Kong store signs and Mandarin procession banners.

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Jean Dubuffet, Dramatique X, 1984. 20th Century & Contemporary Art Day Sale, London.

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The Non-lieux paintings (translated as “non-places”) are Dubuffet’s ultimate series. Aiming to go beyond abstraction, the artist “questions the overall relevance of human views ... denies... that what we think we see... is anything other than fantasy, the ravings of our imagination.” As the artist states, his intention is to represent the non-being, a field of pure thought. The black background of Dramatique X evokes that empty space, and the reduced colour palette, made up of thick white, blue, and red curves, leaves more room for personal interpretation. The Non-lieux series occupied the artist until the dawn of his death in 1985, as an anticipation of his departure from the material world.

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Jean Dubuffet, Lieu rouge au château, 1975. 20th Century & Contemporary Art Evening Sale, London.

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Rejection of established values and deconstruction of academic rules of art constituted the guiding thread of Dubuffet's work. Throughout his career, he drew inspiration from those who expressed themselves outside of formal artistic training — including graffiti artists, tattooists, patients in psychiatric hospitals and children — in search of a spontaneous, wild, and raw pictorial vocabulary. Site avec 6 personnages, Mire G 95 (Kowloon) and Dramatique X offer an exceptional panorama of Jean Dubuffet's last creative years. These works testify to the preoccupations that engaged the artist from his earliest artistic experiments and reveal how they have evolved over the years.

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Discover More from 20th Century & Contemporary Art Day Sale >

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Recommended Reading

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Unreliable Witness: On memory and veracity in Rome by Luc Tuymans >

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Forever Punk: Daniel Richter’s innate challenge of authority emerges in Schakal Reloaded >

\n\n

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‘‘My work is not what you would call expressionism. It’s geometry painted expressively’’
\n—Sean Scully

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Untitled is an intimately scaled, poignantly emotional and spiritual work of art. Painted in 1990, the present work belongs to Scully’s rich and celebrated body of ‘grid’ paintings of which a comparable work of the same palette and year is held in the Museum of Modern Art’s collection in New York. Distinctive in its size, Untitled perfectly encapsulates the artist’s opinion, ‘art though, in our attempt to create our own nature, it’s a terrible, ridiculous and profoundly beautiful arrogance. And nothing is more arrogant than a small painting.’ⁱ

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Untitled is elegant in its geometric simplicity – four grids of vertical and horizontal rectangular forms coalesce on the canvas – and its charcoal black and silver grey palette. Underlaid by a rust-red primer, the strips of black and grey are suffused with emotional warmth, permeating these diaphanous forms with familiarity and intimacy. By 1981, the artist had abandoned acrylic paint and hard-edged abstraction in favour of oil paint and expressive abstraction. In Untitled, the artist’s hand is now present in its raw and gestural vitality. Scully’s prowess as a painter can be crystalised as his translation of the cool, hard geometry and cerebral theory of the abstract tradition into a deeply human art, one imbued with untethered visceral emotion.

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‘‘Abstraction is the art of our age; it’s breaking down of certain structures, an opening up. It allows you to think without making obsessively specific references, so that the viewer is free to identify with the work. Abstract art has the possibility of being incredibly generous, really out there for everybody. It’s a nondenominational religious art. I think it’s the spiritual art of our time’’
\n—Sean Scully

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Part of his Wall of Light series, Untitled is a testament to the duality present in Scully’s tessellated abstract oeuvre. ‘The divided soul is what created pain and beauty’, is how the Irish poet W. B. Yeats described his perception of every artist’s personal duality.ⁱⁱ For Scully, this is the vita duplex, a reference to the conflicting forces within his work, the collision between the ‘refined’ and the ‘brutal and crude’.ⁱⁱⁱ Untitled is refined in its strict geometric structure, brutal in its rough texture and crude in its soft contouring.

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After making several trips to Mexico in the 1980s, the artist drew inspiration from the rich and varied cultural history in the country which he referred to as a ‘culture of walls and light’. This influence is most vivid in the soft contouring and gaps of the rectangular forms. These spaces whereby the rusty red bleeds through, appear to be cracks in the ancient stone of the Mayan temples; the fluctuating hues of grey and black reflect the way in which light plays on the uneven surface of such stone. Spatial relationships in the cracks appear to mirror human relationships, whether it is connection, communion, or discord and division. In Scully’s words, ‘My paintings talk of relationships. How bodies come together. How they touch. How they separate. How they live together, in harmony or disharmony. The character of bodies changes constantly through my work… Its edge defines its relationship to its neighbour and how it exists in context. My paintings tell stories that are an abstracted equivalent of how the world of human relationships is made and unmade.’^iv

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ⁱ Sean Scully, quoted in Kirsten Claudia Voigt, ‘Reading Between the Surfaces’ in Sean Scully: Vita Duplex, Berlin, 2018, p. 45.

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ⁱⁱ W.B. Yeats, quoted in ‘Sean Scully – Vita Duplex at Staatliche Kunsthalle Karlsruhe,’ YouTube, 27 April 2018, online.

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ⁱⁱⁱ Sean Scully, quoted in ‘Sean Scully 2/3 – The Art of Colliding Brutality and Philosophy,’ YouTube, 7 September 2023, online.

\n\n

^iv Sean Scully, quoted in Walter Smerling, ‘Constantinople or the Sensual Concealed’ in The Imagery of Sean Scully, exh. cat., Munich, 2009, p.8.

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123

Sean Scully

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Sean Scully