.jpg?w=1)
拍品專文
The success of Milton Avery's art lies in his ability to modernize a familiar domestic scene by transforming it into a carefully orchestrated arrangement of color and pattern. Painted in 1947, Adolescent was executed during the most critical period of Milton Avery's career. Indeed, Avery's work from the mid to late-40s has the distinctive character of simplified forms and blocks of color that we have come to associate with the artist's most notable works. In addition to their broad popular appeal, Avery's bold abstractions exerted a highly important influence on Post-War American painting and have been seen as critical forerunners to the works of Mark Rothko and Adolph Gottleib, among others.
As is typical of Avery's style, in Adolescent, he creates tension and balance through his selection of complementary and contrasting colors and shapes. While he simplifies the scene to the broadest possible forms, he invigorates these shapes through his sophisticated use of variegated hues. Avery sets the highly saturated palette of blue, green, pink and orange against the muted tones of the wall and radiator. He uses blocks of color both as expression and as a method to modulate space and suggest recession through the planes of color and their arrangement on the two-dimensional surface. In 1952, Avery discussed his use of color, "I do not use linear perspective, but achieve depth by color--the function of one color with another. I strip the design to the essentials; the facts do not interest me as much as the essence of nature." (as quoted in R. Hobbs, Milton Avery: The Late Paintings, New York, 2001, p. 51) Balance is achieved in the present work through the juxtaposition of the strong lines in the walls and floor with the smooth, curvilinear forms of the chair and figure.
Though Avery discounted the influence of Henri Matisse on his work, it seems undeniable that he was inspired by the French artist's use of broad, interlocking shapes to create depth and his preference for flat color over blended shades. Matisse described an approach to painting which could equally serve to define Avery's own technique: "Fit your parts into one another and build up your figures as a carpenter does a house. Everything must be constructed--built up of parts that make a unit..." Matisse further states, "The mechanics of construction is the establishment of the oppositions which create the equilibrium of the directions." (as quoted in Milton Avery: The Late Paintings, pp. 50, 53) In Adolescent, it seems Avery has assembled his composition according to this method.
As is typical of Avery's style, in Adolescent, he creates tension and balance through his selection of complementary and contrasting colors and shapes. While he simplifies the scene to the broadest possible forms, he invigorates these shapes through his sophisticated use of variegated hues. Avery sets the highly saturated palette of blue, green, pink and orange against the muted tones of the wall and radiator. He uses blocks of color both as expression and as a method to modulate space and suggest recession through the planes of color and their arrangement on the two-dimensional surface. In 1952, Avery discussed his use of color, "I do not use linear perspective, but achieve depth by color--the function of one color with another. I strip the design to the essentials; the facts do not interest me as much as the essence of nature." (as quoted in R. Hobbs, Milton Avery: The Late Paintings, New York, 2001, p. 51) Balance is achieved in the present work through the juxtaposition of the strong lines in the walls and floor with the smooth, curvilinear forms of the chair and figure.
Though Avery discounted the influence of Henri Matisse on his work, it seems undeniable that he was inspired by the French artist's use of broad, interlocking shapes to create depth and his preference for flat color over blended shades. Matisse described an approach to painting which could equally serve to define Avery's own technique: "Fit your parts into one another and build up your figures as a carpenter does a house. Everything must be constructed--built up of parts that make a unit..." Matisse further states, "The mechanics of construction is the establishment of the oppositions which create the equilibrium of the directions." (as quoted in Milton Avery: The Late Paintings, pp. 50, 53) In Adolescent, it seems Avery has assembled his composition according to this method.