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拍品专文
With Hollandse Nieuwe (Hollandse Nieuwe ontdekt hoe Hollandse Nieuwe smaakt) René Daniëls deployed the formal qualities characteristic of much of his work: a simple, even haphazard, composition, the use of a limited range of bright colors, and an open and sketchy handling of paint. Parts of the canvas are exposed, as well as the artist's under drawing in charcoal is visible in places. This large work, in which crudely-painted fish form a pattern that covers almost the entire canvas, can be seen as marking a mid-point in the artist's progression from figuration towards the abstraction of his later works.
Daniëls humorously reflects this by depicting his school of fish consuming each other whole. Daniëls explained once in an interview in the '80 that it happened that he was eating some of the new season's raw herring and suddenly it occurred to him that what if they themselves discover how tasty they are. Then they might all eat each other up and be left with nothing. And that is how this all started with these paintings of Daniëls.
At the time of its production Hollandse Nieuwe was taken as a critique of the contemporary art world's commercialism and self-interested adulation of young artists. Although identified as a leading exponent of new Dutch art, Daniëls was suspicious of art historians and critics, and ironic references to the mechanisms of the art world appear frequently in his works through their titles and the playful symbolism of their visual repertory. But Daniëls's visual puns parody conceptual ideas and self-consciously defy specific interpretations.
A comparable work 'Hollandse Nieuwe' from the same year can be found in the collection of The Tate Modern, London, purchased in 2004.
Daniëls humorously reflects this by depicting his school of fish consuming each other whole. Daniëls explained once in an interview in the '80 that it happened that he was eating some of the new season's raw herring and suddenly it occurred to him that what if they themselves discover how tasty they are. Then they might all eat each other up and be left with nothing. And that is how this all started with these paintings of Daniëls.
At the time of its production Hollandse Nieuwe was taken as a critique of the contemporary art world's commercialism and self-interested adulation of young artists. Although identified as a leading exponent of new Dutch art, Daniëls was suspicious of art historians and critics, and ironic references to the mechanisms of the art world appear frequently in his works through their titles and the playful symbolism of their visual repertory. But Daniëls's visual puns parody conceptual ideas and self-consciously defy specific interpretations.
A comparable work 'Hollandse Nieuwe' from the same year can be found in the collection of The Tate Modern, London, purchased in 2004.