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拍品专文
For Davie, painting is a mystical experience and he sees it as, 'fundamentally the same as artists of remote times ... engaged in a shamanistic conjuring up of visions which will link us metaphorically with mysterious and spiritual forces normally beyond our apprehension' (see exhibition catalogue, Alan Davie: Schilderijen Paintings, 1950-2000, Amstelveen, The Cobra Museum of Modern Art, 1989, p. 13).
Parrot Grip No. 5 was painted in 1960, just as Davie was receiving international recognition and enjoying commercial success. During this period Davie’s brushwork became more controlled and the imagery more legible as he moved away from the intensity and freedom of his 1950 works inspired by the American Abstract Expressionists. Like much of Davie’s most effective works Parrot Grip No. 5 has a startling originality and vitality with its jewel-like red, striking yellow and carefully placed lines forming a ladder-type pattern, alluding to the artist’s fascination with symbols. Compositional and stylistic similarities to this work can be seen in Kaleidoscope for a Parrot, (1960) in the collection of Tate.
Parrot Grip No. 5 was painted in 1960, just as Davie was receiving international recognition and enjoying commercial success. During this period Davie’s brushwork became more controlled and the imagery more legible as he moved away from the intensity and freedom of his 1950 works inspired by the American Abstract Expressionists. Like much of Davie’s most effective works Parrot Grip No. 5 has a startling originality and vitality with its jewel-like red, striking yellow and carefully placed lines forming a ladder-type pattern, alluding to the artist’s fascination with symbols. Compositional and stylistic similarities to this work can be seen in Kaleidoscope for a Parrot, (1960) in the collection of Tate.