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拍品专文
“Painting at its best consists of truth to one’s paint, to one’s self and one’s time, and most of all to one’s God and one’s dream”
-Theodoros Stamos
With its balance of vitality and serenity, White Field epitomizes Theodoros Stamos’ signature painterly energy. The red flourish that dominates the right side of the canvas is tamed by the contrasting primary and secondary colors present in the orb on the opposing lower left side of the canvas. The white expanse in White Field serves to anchor and contain the energy of Stamos’ archetypal rapid brushwork containing the vivacity and creating the balancing tranquility. A true painter’s painter, Stamos’s masterful handling of his medium can be seen across the surface of this large canvas as it invites silent contemplation wherein the viewer is lured through the paintings outer details into the recesses of its underlying strata. Stamos’s paintings were born out of this harmonious interplay between intellect and emotion.
Stamos’ paintings equally reflect an interplay between his life and memories so that each painting is both unique and part of a greater cohesive body of work. As art historian Barbara Cavaliere describes, “…because each painting is the memory of a moment in Stamos’s experience, each one differs from the others. Living organisms cannot repeat inner states exactly; the direction of a line, the character of an edge, an accent of color are never quite the same. Stamos titles his paintings at various stages in their development, as the work reminds him of something he has seen. Because each painting is an experiential blend, titles are not literal; they act as keyholes into possible underlying meanings” (B. Cavaliere, Theodoros Stamos, exh. cat., Louis K. Meisel Gallery, New York, April 1981, p. 4).
From 1951 to 1975 Stamos lived between Long Island and Manhattan. During this time he was able to live his preferred way of life in the calm Long Island as well as the contrasting busy and bustling Manhattan borough of New York City. White Field’s composition mimics the contrast of Stamos’ life in two contrasting parts of New York. The noisy and active Manhattan, mimics the wild red pigment in White Field while the calming white embodies the calm of Stamos’ life in Long Island.
Born in New York City to Greek parents in 1922, Theodoros Stamos was part of a group later known as “The Irascibles” that included Jackson Pollack, Mark Rothko, Ad Reinhardt and Willem de Kooning. This group re-wrote the accepted conventions of art and gave way to the Abstract Expressionist of which Stamos was a prominent, and one of the youngest members.
-Theodoros Stamos
With its balance of vitality and serenity, White Field epitomizes Theodoros Stamos’ signature painterly energy. The red flourish that dominates the right side of the canvas is tamed by the contrasting primary and secondary colors present in the orb on the opposing lower left side of the canvas. The white expanse in White Field serves to anchor and contain the energy of Stamos’ archetypal rapid brushwork containing the vivacity and creating the balancing tranquility. A true painter’s painter, Stamos’s masterful handling of his medium can be seen across the surface of this large canvas as it invites silent contemplation wherein the viewer is lured through the paintings outer details into the recesses of its underlying strata. Stamos’s paintings were born out of this harmonious interplay between intellect and emotion.
Stamos’ paintings equally reflect an interplay between his life and memories so that each painting is both unique and part of a greater cohesive body of work. As art historian Barbara Cavaliere describes, “…because each painting is the memory of a moment in Stamos’s experience, each one differs from the others. Living organisms cannot repeat inner states exactly; the direction of a line, the character of an edge, an accent of color are never quite the same. Stamos titles his paintings at various stages in their development, as the work reminds him of something he has seen. Because each painting is an experiential blend, titles are not literal; they act as keyholes into possible underlying meanings” (B. Cavaliere, Theodoros Stamos, exh. cat., Louis K. Meisel Gallery, New York, April 1981, p. 4).
From 1951 to 1975 Stamos lived between Long Island and Manhattan. During this time he was able to live his preferred way of life in the calm Long Island as well as the contrasting busy and bustling Manhattan borough of New York City. White Field’s composition mimics the contrast of Stamos’ life in two contrasting parts of New York. The noisy and active Manhattan, mimics the wild red pigment in White Field while the calming white embodies the calm of Stamos’ life in Long Island.
Born in New York City to Greek parents in 1922, Theodoros Stamos was part of a group later known as “The Irascibles” that included Jackson Pollack, Mark Rothko, Ad Reinhardt and Willem de Kooning. This group re-wrote the accepted conventions of art and gave way to the Abstract Expressionist of which Stamos was a prominent, and one of the youngest members.