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拍品专文
Capturing a Fauvist spirit, spending time between Paris and Aix-en-Provence, Matthew Smith’s work from the period is characterised with broad brushwork and jewel-like colours, engaging with a degree of abstraction. Looking to the work of Aix-en-Provence's leading Modernist artist, Paul Cézanne, Smith’s still life from the early post-war years capture the essence of an apple through colour and brushwork. Painted in 1919, Apple on a Blue Dish looks down upon a table. The space is defined by flat planes of red, blue and green, the only detail found in the subtle rendering of the apple and the patterned table cloth.
Malcolm Yorke describes Smith’s still lifes with apples from 1919 as reflecting ‘a knowledge of the greatest of apple painters, Cézanne, with perhaps hints of the Courbet exhibition he had seen in Paris in July, and shows Smith achieving volume by colour alone. [William] Rothenstein enthused: ‘These apples have an almost breathtaking nobility of form and, fused with it, a colour that is both audacious and delicately astringent’' (see M . Yorke, Matthew Smith: His Life and Reputation, London, 1997, p. 107).
Malcolm Yorke describes Smith’s still lifes with apples from 1919 as reflecting ‘a knowledge of the greatest of apple painters, Cézanne, with perhaps hints of the Courbet exhibition he had seen in Paris in July, and shows Smith achieving volume by colour alone. [William] Rothenstein enthused: ‘These apples have an almost breathtaking nobility of form and, fused with it, a colour that is both audacious and delicately astringent’' (see M . Yorke, Matthew Smith: His Life and Reputation, London, 1997, p. 107).