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拍品专文
Originally trained as an illustrator and printmaker, Vézelay visited Paris in 1920 and became intoxicated with the bohemian, avant-garde atmosphere of 1920s Paris. In 1922 she wrote in Drawing and Design, 'Outside Paris it is hardly an exaggeration to say that Modern art is treated more harshly than the illegitimate child. In Paris, by people who should know of these things, it is regarded as likely, if wedded with sincerity, to give birth to everything of value in the art of the future’ (see R. Alley, Paule Vézelay, London, Tate Gallery, 1983, p. 10). She finally moved to Paris in 1926 and immersed herself in the artistic community, changing her name from Marjorie Watson-Williams to Paule Vézelay. Here she met artists such as Picasso, Braque, Matisse, Kandinsky and André Masson whom she lived with from 1929 to 1932. During this period her work moved away from Post-Impressionist representation to a more organic, biomorphic style. In 1934 she joined the Abstraction-Création group and formed a lifelong friendship with Sophie Tauber-Arp and Jean Arp. Her paintings at this time became 'studies of harmony, balance, spacing and rhythmical contrast executed in clear contrasting colours or black and white’ (ibid., p 11.)
In 1936 Vézelay embarked on what is regarded as her most original phase. Her boxed constructions of stretched threads and wire were known as Lines in Space in which the lines, both straight and curved, dissect above the picture plain throwing shadows across the surface.
Vézelay returned to England on the eve of World War II and fell into relative obscurity until near the end of her life when she was given a retrospective exhibition at the Tate, London in 1983. The present lot was included in this exhibition.
In 1936 Vézelay embarked on what is regarded as her most original phase. Her boxed constructions of stretched threads and wire were known as Lines in Space in which the lines, both straight and curved, dissect above the picture plain throwing shadows across the surface.
Vézelay returned to England on the eve of World War II and fell into relative obscurity until near the end of her life when she was given a retrospective exhibition at the Tate, London in 1983. The present lot was included in this exhibition.