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拍品专文
Jesus Rafael Soto's Relation Noire, Bleue et Argentée is a characteristic example of the artist's celebrated Kinetic aesthetic. Belonging to a generation of young Latin American artists that burst onto the Paris art scene in the 1950s, Soto moved to the city from Caracas after training at the Escuela de Artes Plásticas. Inspired by the tenets of Post-War geometric abstraction espoused by the Salon des Réalités Nouvelles and the Galerie Denise René, Soto began to produce abstract paintings composed of geometric forms that suggested motion through the interplay of line, colour and form. Working alongside an international group of artists that included Yaacov Agam, Jean Tinguely and Julio Le Parc, Soto explored the perceptual problems first proposed in the work of Piet Mondrian and, by also taking inspiration from Kazimir Malevich and Yves Klein, was able to push abstraction beyond mere illusionism.
Executed in 1965, the present work is from the Carrés Vibrants cycle, inspired by the artist's trip to New York in the same year when he saw Malevich's White Square on White Background in the flesh for the first time. Comprised of sixteen coloured squares affixed to four grey striated panels, Soto's squares in Klein blue, black and burnished silver operate both as continuous rows of colour as well as square on square patterns. Soto's mastery of form, space and colour is abundantly displayed in Relation Noire, Bleue et Argentée: the artist has extrapolated the lessons of Malevich's work by adding an optically-induced sense of movement. Constructed of wood and metal, the juxtaposition of textures in the present work elegantly characterizes the static and dynamic elements inherent to Soto's most successful Kinetic works, inviting the spectator's active participation both visually and intellectually. Relation Noire, Bleue et Argentée manifests the ultimate dematerialization of colour and kindles the optical transformations of space and time.
Executed in 1965, the present work is from the Carrés Vibrants cycle, inspired by the artist's trip to New York in the same year when he saw Malevich's White Square on White Background in the flesh for the first time. Comprised of sixteen coloured squares affixed to four grey striated panels, Soto's squares in Klein blue, black and burnished silver operate both as continuous rows of colour as well as square on square patterns. Soto's mastery of form, space and colour is abundantly displayed in Relation Noire, Bleue et Argentée: the artist has extrapolated the lessons of Malevich's work by adding an optically-induced sense of movement. Constructed of wood and metal, the juxtaposition of textures in the present work elegantly characterizes the static and dynamic elements inherent to Soto's most successful Kinetic works, inviting the spectator's active participation both visually and intellectually. Relation Noire, Bleue et Argentée manifests the ultimate dematerialization of colour and kindles the optical transformations of space and time.