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拍品專文
Portrait fully reveals the mature development of Schnabel's plate paintings. With the plate paintings, Schnabel dramatically challenged the depiction of space and the two-dimensional picture plane in the spirit of Picasso, Schwitters and Rauschenberg. The plate paintings were a further development of Schnabel's interest in surfaces. As René Ricard noted in Schnabel's retrospective exhibition catalogue for the Stedelijk Museum in 1982:
"Julian has always had surface anxiety in his work. A painting was never enough for him, and without knowing where it would lead, he was always doing more than just painting on them, to make them physical presences. He would poke holes in them, build shelves on them...I can see how someone could look at a Schnabel and see plates where I don't see plates at all. I see surface aggression. I see a logical extension of brushstroke and surface." (R. Ricard, "About Julian Schnabel", Julian Schnabel, Amsterdam 1982, p. 3.).
First developed around 1981, Schnabel began developing his "drip grounds", which have been recognized as cosmograms roughly signifying the dissolution of all things into one another. Schnabel's ground of broken shards partly inspired by the work of Jackson Pollock, but mediated by the discontinuous grounds of Rauschenberg's combines and collages, where separate entities momentarily form out of the flux of images, then break apart by ambient surges and tugs. But the significance of Schnabel's ceramic shard ground extends beyond fragmentation. Lay one of these paintings down on the ground, rather than hang it on the wall and it ceases to be a painting and becomes a sculptural representation of an archaeological site.
Schnabel's imagery in these works also began to intensify as the plate paintings developed. Reference to personal experience, Greco-Roman classical symbols, spiritual and cultural recollections, literature, films and art history became his sources. In the catalogue for Schnabel's 1984 exhibition at The Pace Gallery, Gert Schiff states:
"...in the plate paintings, the figure restates with an altered tonality what the archaeological-site ground has already stated beneath it. As the earth filled with shards (the mud of Mudanza) is a fertile swampy place where things sink in and rise again in different forms, so the goddess hanging on the tree or cross is nature constantly recycling its forces and appearances through a process like death and birth at once. This area of Schnabel's work--its pantheistic enthusiasm presented through a mixture of pagan and Christian images, and its symbolic incorporation of painting into a death and fertility cult--relates, among classical Modernist forebears, to Picasso. (G. Schiff, "Julian Schnabel and the Mythography of Feeling", Julian Schnabel, New York 1984.)
"Julian has always had surface anxiety in his work. A painting was never enough for him, and without knowing where it would lead, he was always doing more than just painting on them, to make them physical presences. He would poke holes in them, build shelves on them...I can see how someone could look at a Schnabel and see plates where I don't see plates at all. I see surface aggression. I see a logical extension of brushstroke and surface." (R. Ricard, "About Julian Schnabel", Julian Schnabel, Amsterdam 1982, p. 3.).
First developed around 1981, Schnabel began developing his "drip grounds", which have been recognized as cosmograms roughly signifying the dissolution of all things into one another. Schnabel's ground of broken shards partly inspired by the work of Jackson Pollock, but mediated by the discontinuous grounds of Rauschenberg's combines and collages, where separate entities momentarily form out of the flux of images, then break apart by ambient surges and tugs. But the significance of Schnabel's ceramic shard ground extends beyond fragmentation. Lay one of these paintings down on the ground, rather than hang it on the wall and it ceases to be a painting and becomes a sculptural representation of an archaeological site.
Schnabel's imagery in these works also began to intensify as the plate paintings developed. Reference to personal experience, Greco-Roman classical symbols, spiritual and cultural recollections, literature, films and art history became his sources. In the catalogue for Schnabel's 1984 exhibition at The Pace Gallery, Gert Schiff states:
"...in the plate paintings, the figure restates with an altered tonality what the archaeological-site ground has already stated beneath it. As the earth filled with shards (the mud of Mudanza) is a fertile swampy place where things sink in and rise again in different forms, so the goddess hanging on the tree or cross is nature constantly recycling its forces and appearances through a process like death and birth at once. This area of Schnabel's work--its pantheistic enthusiasm presented through a mixture of pagan and Christian images, and its symbolic incorporation of painting into a death and fertility cult--relates, among classical Modernist forebears, to Picasso. (G. Schiff, "Julian Schnabel and the Mythography of Feeling", Julian Schnabel, New York 1984.)