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拍品專文
This work is recorded in the Maurice Garnier Archives.
As early as 1947, Buffet started to take interest in the interplay between his angular approach to portraiture and the interiors in which his subjects posed – the powerful diagonal of a sitter’s arms or legs against the verticality of the surrounding walls or windows. The angles of the barman’s shoulders, and the strict verticals of his torso, are mirrored in the shape of the coffee machines and wine bottles behind him. The artist’s palette at this time was dominated by subdued and atmospheric greys, and the visual effect of the stark black and white of the barman’s uniform, and the bright white of the cup, must also have appealed to the artist.
As early as 1947, Buffet started to take interest in the interplay between his angular approach to portraiture and the interiors in which his subjects posed – the powerful diagonal of a sitter’s arms or legs against the verticality of the surrounding walls or windows. The angles of the barman’s shoulders, and the strict verticals of his torso, are mirrored in the shape of the coffee machines and wine bottles behind him. The artist’s palette at this time was dominated by subdued and atmospheric greys, and the visual effect of the stark black and white of the barman’s uniform, and the bright white of the cup, must also have appealed to the artist.