维克托·帕斯莫尔全部影视作品
 坐着的夫妇 | This small sketch shows a couple, possibly the artist Claude Rogers and his wife, sitting on a bench with the sea behind them. The free handling of paint and everyday subject matter recalls the work of the French artist, Henri Matisse.
The year before this was painted Pasmore was elected a member of the London Artists Association where he met Claude Rogers and William Coldstream. In 1937 the three men formed the Euston Road School at 12 Fitzroy Street. Pasmore described this group as 'a call for objectivity overwhelmed by the subjective domination of modern expressionism '. |
| 内景之斜倚的妇女 | Interior with Reclining Women 1944–6 is a large landscape format painting on canvas. The composition is divided into two parts to the right of centre by a vertical, white painted line. The work has a prominent horizontal development with both parts depicting an interior scene with women and children. They are unified by the dominant amaranth purple-coloured back walls, which parallel the picture plane; a strip of brown-coloured paint that runs along the top of most of the canvas; and the depiction of a footstool in the foreground, which straddles the two parts of the composition, its leftmost corner just appearing in the left-hand part of the painting. Nevertheless, the two areas also present important differences, primarily in relation to the state of development of the painting. While the right section has been developed further, work on the section on the left seems to have stopped at an earlier stage of its development, with a significant portion of the canvas, including the outline of a doorway and the drawing of two seated women and a young child, mostly left unpainted apart from a superficial wash of colour in some areas. As well as the two seated women and infant, the left part of the canvas depicts a woman with bright copper hair in a pink-white dress seated on a chair, bending over towards a young child squatting on the floor. The area of the floor is painted in a thin layer of brown paint applied with large, quick brushstrokes. In the right section, the foreground is dominated by the figures of two women, one sitting on a chair with her feet on a footstool, her arms raised as if in the act of arranging her hair on the top of her head. To her right, another woman rests her elbow languidly on the back of the chair, supporting her tilted head on her hand. A young child is reading a book which lies open on the footstool and, in the centre of this right-hand section, a small round table supports a table lamp, of which only the shade is painted, but not the stand. Four framed pictures or mirrors – three square and one oval in shape – are delineated on the wall behind, but painted in very similar shades of amaranth purple in the background so that they partially blend into it. Between 1942 and 1947 Victor Pasmore lived at 16 Hammersmith Terrace in London, on the banks of the River Thames, a location that provided subjects for a major series of landscapes, including The Hanging Gardens of Hammersmith, No.1 1944–7 (Tate T12615 ) and The Gardens of Hammersmith No.2 1949 (Tate T07033 ). It was here that Pasmore painted Interior with Reclining Women , wanting to break with sketching and painting outdoors in favour of an approach that allowed him free rein to use his imagination and memory. The painting, which the artist chose to leave in an incomplete state, provides a key to understanding Pasmore’s transition from figuration to abstraction in the mid to late 1940s. While the reasons why Pasmore left the painting unfinished remain unknown, the exact dates of its execution have been recorded differently in different sources. A reproduction of a detail of the painting, with the alternative title The Abode of Love , appeared in Horizon magazine in 1945 with the caption ‘detail from an unfinished decorative painting 1944’ ( Horizon , no.11, March 1945, pp.162–3). The catalogue of Pasmore’s one-man exhibition at the Tate Gallery in London in 1965, in which the work is titled Red Interior , also dates it to 1944 (see Tate Gallery 1965, no.38). However, the image reproduced in Horizon in 1945 is of a detail of the work at an earlier stage of development. Furthermore, the art historian Alistair Grieve, who knew Pasmore and had extensive access to his private archive, has dated it 1944–6 (Grieve 2010, pp.34–5). For those reasons, the date 1944–6 seems to be the most representative and reflects the protracted if ultimately unfinished development of the work. The painting expresses the warmth of family life by means of colour and form, showing the artist’s wife and his young son John represented in both halves of the painting, while his baby daughter Mary is also depicted in the left part of the work. Around the mid-1940s Pasmore began to experiment with various aspects of post-impressionism, studying the work of European artists such as Paul Cézanne (1839–1906), Vincent van Gogh (1853–1890) and Georges Seurat (1859–1891). As well as reading their writings, he drew on a wide variety of visual sources: Edgar Degas’s paintings of people in interiors (for example, Combing the Hair c.1896, which the National Gallery, London, acquired in 1937), J.M.W. Turner’s interiors from Petworth House in West Sussex, and paintings and prints by the nineteenth-century French group of artists known as Les Nabis. Interior with Reclining Women also illustrates Pasmore’s interest in oriental art, particularly Chinese paintings and Japanese prints, examples of which he was able to study as a young painter in the British Museum in London. The proportions of the canvas, the domestic setting and intimate atmosphere, as well as the break in the picture’s composition, may relate to the work of one of the eighteenth-century Japanese artists from the Edo period whose work Pasmore deeply admired, Kitagawa Utamaro (1753–1806). Utamaro’s prints depicted women of different ages and types engaged in various often domestic activities, some at home with their children, as in the case of Women Sewing c.1795–6 (British Museum, London), a triptych of colour woodblock prints. Pasmore’s move into abstraction around 1948 was one of the most discussed – equally condemned and celebrated by his contemporaries – events in post-war British art. Although Pasmore’s transition from figuration to abstraction has often been referred to as a ‘conversion’ (see, for instance, Jasia Reichardt, Victor Pasmore , London 1962, unpaginated), this was a progressive shift marked by experimentation rather than a sudden resolution. After having earned an outstanding reputation as a painter of highly sensitive landscapes and figure studies, around the mid-1940s Pasmore’s interest in various aspects of post-impressionism led him to experiment with the use of multiple perspectives, the adoption of a modified form of pointillism and the compression of the picture space. Interior with Reclining Women is an important picture in relation to this transition, as it demonstrates Pasmore’s working through of a composition in which the picture space is flattened and the formal qualities of the figures and objects depicted, as well as their uniform colour, become the subjects of an increasingly abstracted scene. |
| 瓶中的玫瑰 | This is one of a series of still lifes and landscapes painted while the artist was living at Blackheath. It was made in the late 1940s when he was exploring the writing and paintings of the great Post-Impressionists , Cézanne, Gauguin, Van Gogh and Seurat. According to Pasmore 'these were the last of my post-impressionist paintings, which ended in purely independent abstraction '. The relationship of the roses and jar to the blocked in square shapes before and behind them, indicate that this is a transitional work, combining abstract and representational elements. |
| 哈默史密斯的空中花园，1号 | This painting depicts in a loose, impressionistic style, the view from the artist’s garden in Hammersmith, West London, which ran down to the river Thames. As well as the scene’s location, its title makes reference to the Hanging Gardens of Babylon, one of the seven wonders of the ancient world, now widely considered to be mythical. Pasmore researched the history of art and his Thames paintings are like tributes to Turner, Whistler and, here, Seurat. That the composition is based on geometric principles is clear and anticipates the abstract paintings that Pasmore began to produce the following year. |
| 三种运动中的线性母题 | - |
| 美好的一天（普契尼） | Inscribed ‘VP 78’ bottom right and ‘62/90’ Etching, printed and published by 2RC, Rome, 91 1/4 × 19 3/8 (231.8×49.2) Presented by the artist 1981 Lit : op.cit., no.72 op.cit., Rome 'Il Mostro’ [ P07415 ] was the first of a series of etchings made at the 2RC studio in Rome, for which Pasmore used a very direct method of working on the plate to produce large and fluid areas of colour aquatint . He poured a solvent onto the varnished copper plate, controlling the run and spread of the liquid. The area thus bared for aquatinting and etching was then modified and augmented to complete the image. ‘Un Bel di Vedremo’ [ P02545 ] and ‘Stromboli’ [ P07416 ] were done in the same way, but for ‘Villa dei Misteri’ [P02546 ] Pasmore made the large colour areas more controlled, also overlaying small colour shapes. Pasmore had first worked at 2RC in 1970; he has since worked there many times, taking advantage of the unusually large plate sizes they can accomodate on their big press. |
| [无题] | - |
| “我们能以什么方式知道？” | - |
| 黑色抽象作品 | Pasmore originally called this relief Black Abstract – Growing Form , reflecting how its composition, like much of Pasmore’s work, was based on ideas of organic development. The dominant motif is the progressive build-up of black blotches painted directly onto untreated chipboard – the blotches expanding as they extend down from the top edge of the board. Although the idea of progressive development from a single motif can be traced to the influence of Paul Klee (1879–1940), Pasmore had also been engaged by D’Arcy Wentworth Thompson’s On Growth and Form - when republished in 1942, it influenced Pasmore and many of his contemporaries. |
| 线性发展1 | - |
| 变化8号 | - |
| 蓝色发展 | - |
| 线性发展 5 | - |
| 联络点 12号 | - |
| “我们必须通过什么几何构建物质世界？” | - |
| 合成建筑物（白色和黑色） | Oil on Formica, painted wood and PVC relief 1226 x 1226 x 265 (48 1/4 x 48 1/4 x 10 7/16)
Inscribed on back in white paint ‘VP’, centre
Presented by the artist 1966
Exhibited: Henry Moore to Gilbert and George: Modern British Art from the Tate Gallery , Palais des Beaux Arts, Brussels, Sept.-Nov. 1973, as part of Europalia 73 Great Britain (68, repr. p.81)
Literature: Tate Gallery Report 1965-6 , London 1967, p.40 The Tate Gallery , London 1969, p.169 Alan Bowness and Luigi Lambertini, Victor Pasmore, with a Catalogue Raisonée of the Paintings, Constructions and Graphics 1926-1979 , London 1980, p.304, no.376, repr. p.263 (as Synthetic Relief Construction )
Reproduced: Simon Wilson, British Art: From Holbein to the Present Day , London 1979, p.164
While continuing to make the more simple reliefs such as Abstract in White, Black, Indian and Lilac and Relief Construction in Black, White and Maroon (Tate Gallery T00609 ), in the early 1960s Pasmore also produced increasingly complex works. In particular, he made a number which included elements projecting a considerable distance from both sides of a sheet of PVC. Synthetic Construction (White and Black) falls somewhere between these and the earlier, flatter reliefs. Its suspension of a PVC plane between wooden blocks recalls Lawrence Alloway’s description of the genesis of the simpler works. [1] As in Relief Construction in Black, White and Maroon , the use of the transparent plastic standing clear of the main white support creates an ambiguity between the material of the work and the space in which it hangs. The division between the two is also crossed by the long vertical form which projects down beyond the square of PVC. In an interview with the compiler on 4 June 1996 the artist associated this form with his belief in a ‘modern space’ that exceeded the rectangle of the Renaissance picture. This had been a motivation behind his earlier reliefs and the work of other Constructionists; for instance, the American Charles Biederman’s Art as the Evolution of Visual Knowledge had narrated a history of painting that presented the move into relief as its logical culmination. [2] Indeed, such an elongated vertical was characteristic of the reliefs made by Pasmore between 1951 and 1953, when his work was closest to Biederman’s. In the same interview Pasmore also associated this work with his involvement in Peterlee, a new town in County Durham. From 1955 he was engaged as a consultant on the design of the south west quadrant of the town, applying the organic principles of his painting practice to the lay-out of roads and houses. He saw town planning as a question of the body’s movement through space and, as such, as an extension of his reliefs and earlier landscape paintings. Both architecture and reliefs were thus seen to embody ‘modern space’, which was defined in terms of four dimensions - the space-time continuum. The elongated vertical element in Synthetic Construction had its parallel in the Pavilion, an amalgamation by Pasmore of architecture and sculpture , that stretched across the lake at the heart of south west Peterlee. [3] Similarly, the conjunction of the orthogonal blocks and painted black lines in reliefs such as this has been compared to the ‘pedestrian routes at Peterlee cutting between blocks of houses’. [4] Synthetic Construction is made up of a number of pieces of wood - some plywood faced with Formica, others painted blocks - and a poly-vinyl chloride (PVC) sheet in front of a white painted board. On the left hand side a white block and a black one project about 10 inches (250mm) from the main board to which they are attached. A horizontal white block below them and the long vertical are attached to the face of the PVC. The sides of the vertical form are faced with white Formica so that the layering of the plywood is visible. The centrally located white block, the length of which is the same as the projection of the black and white forms on the left, itself projects about 3 inches (76 mm). If seen from above it is clear that its structure is complex. The frontal face is made up of a thin flat section, 2 1/2 inches (64 mm) wide, another at right angles, 3/4 inch (19 mm) deep, and a long block, approximately 1/2 inch square in section. The whole thing is attached to a narrower block, 1 inch (25 mm) deep, underneath. The PVC passes between that block and another, 1 1/2 inches (38 mm) deep, attached to the back board. The PVC is held in only one other place: in a 2 inch (50 mm) cut into the black form on the left hand side of the whole composition . Lines of black paint were applied with the aid of masking tape. To the left, beyond the PVC, three forms were painted onto the white board; a fourth passes from the white on to the upper face of the black projected element. A line above the black form and another to the right of the central white structure were painted on the PVC, while a broader line between the black block and the two blocks attached to the PVC was painted on the board behind it. An aluminium strip around the main board is integral to the work.
The deployment of the elements within Synthetic Construction was based upon a simple geometrical arrangement. The PVC square is centrally located on the main white board, which is also square; the centre point of the complex white form is also the centre of the whole. The horizontal black projection is exactly half way up the composition and the white projection above it is the same distance from the top edge as the horizontal white form below it is from the bottom. The long vertical and the bottom of that horizontal white block define a square with the left hand and bottom edges of the main board. The long vertical and the lower of the painted black forms on the extreme left almost fall on the golden section of the two dimensions; that they do not do so precisely reflects the empirical way in which Pasmore composed his work.
Synthetic Construction was developed from an earlier relief, of which two versions were made: one was included in Pasmore’s 1965 retrospective, [5] the other was shown at the São Paolo biennale that year, toured around South America and was subsequently purchased for the Peter Stuyvesant Collection. Synthetic Construction had the same set of three-dimensional forms as the earlier work, except for the addition of the white projection towards the top left hand corner of the PVC. However, the arrangement of painted lines is considerably more complicated than in the original work, giving the composition a greater sense of dynamism. This also emphasises the compositional imbalance: nearly all the forms are located in the bottom left hand quarter of the work and only the painted line on the right hand side prevents the composition from falling away to the left. This apparent departure from Pasmore’s earlier desire for visual balance and the rejection of geometrical laws may be indicative of his increasingly improvisatory approach. The artist later explained that he chose the word ‘synthetic’ for the title because the work was ‘a rational construction with irrational marks made on it’. |