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拍品專文
“Many drawings from 1960 serve as quieter counterpoints to one of the artist’s main preoccupations in the mid-1960s—still life compositions […] in the mid-1960s perhaps no genre was more compelling to the artist than that of the still life.” Jane Livingston
The intricately decorative floral motifs adorning the tablecloth in Untitled (1964) serve as a testament to the transformative influence of Henri Matisse on Richard Diebenkorn's artistic trajectory, particularly following Diebenkorn's visit to the Soviet Union, where he had the opportunity to engage closely with Matisse's oeuvre. Both artists adeptly conflate interior and exterior spaces, yielding compositions that push subsequent elements toward the foreground, nearly transcending the picture plane itself. Notably, perspective plays a pivotal role in this work, presenting a bird’s-eye view of domestic objects—utensils, a matchbook, a magnifying glass, a coffee cup, and a plate bearing remnants of a lamb chop—each suggesting the echoes of an intimate dinner or the languorous aftermath of a convivial evening spent in good company. This careful attention to the nuanced details of everyday life imbues the composition with a sense of ease and nostalgia.
As noted by J. Livingston and A. Liguori, “Many drawings from 1960 serve as quieter counterpoints to one of the artist’s main preoccupations in the mid-1960s—still life compositions […] in the mid-1960s perhaps no genre was more compelling to the artist than that of the still life.” (J. Livingston in J. Livingston and A. Liguori, Richard Diebenkorn: The Catalogue Raisonné, Volume Three, New Haven and London, 2016, p. 589). Regardless of subject matter or stylistic approach, Diebenkorn's still lifes exemplify his remarkable observational acuteness. His ability to infuse seemingly mundane subjects with depth and resonance permeates his practice, bridging his figurative works and abstract paintings through a shared emphasis on intimate, focused perception.
The intricately decorative floral motifs adorning the tablecloth in Untitled (1964) serve as a testament to the transformative influence of Henri Matisse on Richard Diebenkorn's artistic trajectory, particularly following Diebenkorn's visit to the Soviet Union, where he had the opportunity to engage closely with Matisse's oeuvre. Both artists adeptly conflate interior and exterior spaces, yielding compositions that push subsequent elements toward the foreground, nearly transcending the picture plane itself. Notably, perspective plays a pivotal role in this work, presenting a bird’s-eye view of domestic objects—utensils, a matchbook, a magnifying glass, a coffee cup, and a plate bearing remnants of a lamb chop—each suggesting the echoes of an intimate dinner or the languorous aftermath of a convivial evening spent in good company. This careful attention to the nuanced details of everyday life imbues the composition with a sense of ease and nostalgia.
As noted by J. Livingston and A. Liguori, “Many drawings from 1960 serve as quieter counterpoints to one of the artist’s main preoccupations in the mid-1960s—still life compositions […] in the mid-1960s perhaps no genre was more compelling to the artist than that of the still life.” (J. Livingston in J. Livingston and A. Liguori, Richard Diebenkorn: The Catalogue Raisonné, Volume Three, New Haven and London, 2016, p. 589). Regardless of subject matter or stylistic approach, Diebenkorn's still lifes exemplify his remarkable observational acuteness. His ability to infuse seemingly mundane subjects with depth and resonance permeates his practice, bridging his figurative works and abstract paintings through a shared emphasis on intimate, focused perception.