帕特里克·考尔菲尔德全部影视作品
首发于 qinglite.cn，统计截止日：2024-11-18
 蓝色的帖子 | In a letter dated March 1990 the artist wrote of this painting 'The Blue Posts refers to yet another public house of that name. It is an establishment without any particular distinction or charm, but conveniently close to my London studio. The suggestion of colour and object in the title was appealing in that they are absent from the painting, which, however, still retains a visual association with the place itself. The painting is an analogy of this place constructed from various other sources and memories'. During the 1980s he had returned to a more stripped-down aesthetic; in this case, the precise disposition of a few identifiable elements transforms an ostensibly abstract picture into one evoking a vivid sense of place. |
| 壁板。屏幕 | - |
| 容器 | - |
| 盘子里有两条鱼 | - |
| 静物与匕首 | 帕特里克·考尔菲尔德的《静物与匕首》这幅画作是1963年所绘制，画面中有一个一个精美的匕首和一些静物。此画作收藏于英国伦敦泰特美术馆。 整幅画面是冷色调，蓝紫色系，画面中间有白色的条纹来进行分割，整个画面有点是立体主义和几件的结合，一把蓝色的匕首和一串珍珠，没有影子但是珍珠串上有一些高光，仿佛又置身于光影之中。珍珠搭在画面中间的橙色线上，一直延伸在画面左上角中的蓝色区域，白色粗线条更是有更有一种立体主义的风格。 科菲尔德1963年至1964年的几幅画作都直接引用了立体主义画家胡安的绘画风格，正如考尔菲德所说，“我喜欢胡安·格雷的作品，不是因为他处理的观点不同，而是因为他处理问题的方式不同。”它很强壮，很正式，很有装饰性。在此期间，考尔菲德开始在他的绘画中引入异国情调的东西。艺术评论家马尔科·利文斯通将其描述为“装饰奢华与空间技术”的结合。 |
| 灰色烟斗 | Grey Pipe is a screenprint made at Kelpra Studio, a fine art print workshop in London. It was published in an edition of seventy-five with fifteen proofs by Waddington Graphics, London; Tate’s copy is an artist’s proof. It is signed by the artist and inscribed ‘AP’ below the lower right corner of the background set in a broad white margin. The initial ‘K’, the mark of Kelpra Studio, is embossed into the paper in the same corner. Grey Pipe is a near-square print with a muted colour scheme, depicting a smoker’s pipe resting in an ashtray. Both objects are rendered in a schematic fashion with heavy black outlines – in the case of the pipe – and a monotone black underside – in the case of the ashtray – against a flat background of pale grey. Pale highlights serve to suggest their three-dimensional properties, although the objects cast no shadow on the monochromatic background. The large size of this print results in the pipe being rendered many times greater than life-size. This exact arrangement of the pipe and ashtray in Grey Pipe would reappear the following year, on a similar scale, in Caulfield’s largest painting to date, The London Life Mural 1982 (current whereabouts unknown, reproduced Livingstone p.150). This painting was the result of a commission from the London Life Insurance Company to make a painting for the entrance hall of their then headquarters in Bristol, on the theme of ‘The Historical Significance of the Site’. The resulting painting, comprising twelve pieces of hardboard for its support, measured over six metres square. Despite its grand scale, Caulfield chose for his subject simple domestic objects, such as the pipe and the half-full decanter, which however had a link with the mercantile history of the town. The simple, cartoon-style black outlines which delineate the still life objects belie the pictorial complexity of the painting’s composition, in which the artist set up an interplay of light and shadows, of reflection and transparency. The choice of smoking materials, and in particular pipes, as subject matter is one which recurs throughout Caulfield’s work. In 1972 he had produced Pipe ( P04102 ), a large screenprint depicting a pipe resting on the floor in the corner of a brightly wallpapered room. A few years later, in 1976, he returned to this apparently ordinary, domestic subject matter in another screenprint Pipe in Bowl ( P05412 ), in which a pipe rests in a red bowl on a granite worktop. On the wall behind, two different light sources cast overlapping shadows of the pipe and bowl. Much later, in the 1990s, he made a number of small paintings featuring pipes set against domestic architectural elements, such as door and window frames. Later still, in his 1997 screenprint Freud’s Smoke ( P79203 ), he chose to represent Sigmund Freud simply by his ubiquitous cigar. The pipe can be read as a reference to Cubism or even to the work of René Magritte (1898–1967), whom Caulfield also admired. Speaking to Marco Livingstone in 1980, Caulfield commented: I suppose I’ve used one or two images which have appeared in Cubist paintings without them being done in the Cubist manner, such as the pipe. I suppose the bottle and glass are equivalent in that way. You can think of them in various ways. The bottle is a very female form, and the pipe is a very masculine symbol. I don’t know if that’s one reason why they’re interesting, but they do say a lot, really. They’re like ready-made suggestions of life. (Quoted in Livingstone, p.21, note 9.) Patrick Caulfield made his first print, Ruins ( P04076 ), in 1964 at Kelpra Studio, the fine art print workshop established by master printer Chris Prater in the late 1950s. Having chosen the medium of screenprinting for its ability to create immaculately flat areas of bright, saturated colour, Caulfield continued to collaborate with Prater and, from the late 1960s, with Chris Betambeau and later Bob Saich at Advanced Graphics. He produced prints regularly throughout his career, until 1999 when he made Les Demoiselles d’Avignon vues de Derrière ( P78309 ), an homage to Pablo Picasso’s great painting Les Demoiselles d’Avignon 1907 (Museum of Modern Art, New York). For Caulfield, printmaking was a parallel activity to his painting, allowing him to explore the same subject matter and artistic concerns, as he explained: Because I’m such a slow producer of paintings, I regard printmaking as a way of extending the kind of imagery that concerns me, because of its multiplication in editions. I don’t think of a print as very different to a painting, because I make a painting for each print in more or less detail. I’m not really a printmaker at all. I provide an image and then it’s printed by professional printers. It’s a relief to see this work under way. (Quoted in Livingstone, p.31.) |
| 海明威从未在这里吃过 | This work was made in response to the Spanish painter Francisco Zurburán's still life A Cup of Water and a Rose on a Silver Plate (circa 1630, now in the National Gallery; see below). Although the central motif of the plate and cup is rendered meticulously from the earlier painting , Caulfield also includes references to more contemporary Spanish culture. The wedge of lime inserted in the bottle refers to the Hispanic fashion of drinking beer with lime, while the bull's head, celebrating the Spanish tradition of bull-fighting, was seen in a bar in Madrid. These eclectic references are echoed by Caulfield's merging of different artistic styles. |
| 烤架 | Grill is a vertically oriented, semi-abstract painting with a dark red background, in the lower part of which is a highly naturalistic depiction of three steaks sitting close together. The steaks appear to occupy a three-dimensional space, contrasting with the work’s flat background. Each has a thin layer of white fat round its edges and a green garnish. The meat is mostly a dark red hue, similar to that of the painting’s background, but shadows and varying tones suggest contours on the steaks, whereas the background is relatively unmodulated. At the top-right is a tall black rectangle-like shape with a rounded top and bottom and sides that taper towards its upper half. Dominating the part of the painting above the steaks is a red, roughly rhombus-shaped area with thick, furrowed edges and palpably textured lines across it, running parallel to the form’s diagonal orientation. To the upper left of the rhombus and overlapping it is a bright white circle, and where this crosses over with the rhombus it has a textured surface, while the remainder of the circle is smooth. A dark shadow runs along the bottom-left edge of the rhomboid area, suggesting that it may somehow be elevated above the picture plane, although this shadow stops where it meets the white circle. This work was made by the British artist Patrick Caulfield in London in 1989. It was executed on a single piece of coarse canvas with a slightly open weave, which was attached to an expandable stretcher. Caulfield initially covered the front and sides of the support with a white acrylic gesso and then established the thick surface textures using white modelling paste. The edge of the rhombus shape appears to have been made by squeezing paste into lines on the canvas directly from a tube. Meanwhile the textured area inside this form was most likely sculpted with a palette knife. Caulfield subsequently covered the canvas in various tones of acrylic emulsion. These were mostly opaque, although the dark red was not and therefore had to be applied in many coats to cover the paste fully. Grill has a hardwood frame, probably original, which consists of a square moulding stained to a dark umber colour and then polished. Grill is characteristic of Caulfield’s paintings from the late 1980s and early 1990s (see also Reception 1988), which mostly have flat backgrounds of a single, largely unmodulated tone and include at least one naturalistically rendered object as well as raised, textured areas. They also commonly feature lamp shades and stylised beams of light, and it is likely that the black curved shape and the white circle in this painting were intended to depict such forms. As Caulfield acknowledged in 1998, whereas the representational content of his earlier works was generally easily recognisable, those from this period were ‘more elusive’ (Caulfield in Patrick Caulfield and Bryan Robertson, ‘Patrick Caulfield: A Dialogue with Bryan Robertson’, in Hayward Gallery 1999, p.30). The title Grill could refer both to the raised lines within the large square area, which loosely resemble the slats of a grill pan, or to the act of grilling the depicted steaks. According to the art historian Marco Livingstone, the major shift towards abstraction that characterises Caulfield’s work of the late 1980s, as exemplified by Grill , resulted from a change in ‘the way he planned his paintings’: whereas previously he had designed the whole composition in detailed studies, now Caulfield was ‘deciding on the elements he wished to include and then proceeding from one to the next directly on the canvas’. Livingstone argues that this led away from the ‘coherent, uninterrupted space’ and ‘unified perspective’ that can be found in Caulfield’s earlier works and towards paintings which present ‘the base colour as a flat ground punctuated by images and incidents suggestive but not descriptive of a particular location’ (Livingstone 2005, p.158). Livingstone has observed further that the raised, textured surfaces that consistently feature in Caulfield’s paintings of this period served as a ‘counterpoint’ to their illusionistic renderings of various objects, and that these sections of the works engage the viewer’s sense of touch (Livingstone 2005, p.152). For instance, Livingstone has written that in Grill this is achieved through the long raised lines that ‘create the effect of panelling’, suggesting that Caulfield was experimenting with a way of depicting interior scenes and still lives that operated through tactility rather than visual resemblance (Livingstone 2005, p.158). |
| 布拉克窗帘 | - |
| 夜空 | Night Sky is a small, postcard-sized screenprint made at Advanced Graphics, a fine art print workshop in London. It forms part of the portfolio entitled Eighteen Small Prints , published by the Bernard Jacobson Gallery in London in an edition of one hundred plus fifteen proofs; Tate’s copy is an artist’s proof. It is signed by the artist on the back of the sheet, and inscribed ‘AP’ and with the title. Eighteen Small Prints followed on from another portfolio of screenprints published the previous year by the Bernard Jacobson Gallery entitled 14 BIG Prints , to which Caulfield contributed Two Whiting ( P79181 ). At this time, a number of contemporary artists had been experimenting with the medium of screenprinting; the earlier portfolio, as its title suggests, was one of the first to exploit the medium’s ability to create prints on a larger scale. Some of the other artists invited to make prints for the first portfolio were Peter Blake (born 1932), Bernard Cohen (born 1933), Robyn Denny (born 1930), John Hoyland (born 1934) and Eduardo Paolozzi (1924–2005). According to the Bernard Jacobson Gallery, it was Peter Blake who suggested to Bernard Jacobson that, as a riposte to 14 BIG Prints , he might ask artists to make prints on a very small scale. The result was Eighteen Small Prints . Other contributors included Bernard Cohen, Robyn Denny, Richard Hamilton (born 1922), David Hockney (born 1937), Eduardo Paolozzi and Richard Smith (born 1931), as well as Caulfield himself. Night Sky depicts the solid black form of the top half of a bottle set against a saturated background of deep-blue sky. Small black circles dotted around the background are suggestive of either stars or bubbles floating upwards in a glass of champagne. Indeed, the form of the bottle is that of a sparkling wine or champagne bottle. Bottles and glasses appear repeatedly throughout Caulfield’s paintings and prints, both as signs of human activity – the human form being almost entirely absent from his work – and as links to a tradition of still life painting. Speaking to Marco Livingstone in 1980, Caulfield acknowledged his debt to Cubism: I suppose I’ve used one or two images which have appeared in Cubist paintings without them being done in the Cubist manner, such as the pipe. I suppose the bottle and glass are equivalent in that way. You can think of them in various ways. The bottle is a very female form, and the pipe is a very masculine symbol. I don’t know if that’s one reason why they’re interesting, but they do say a lot, really. They’re like ready-made suggestions of life. (Quoted in Livingstone, p.21, note 9.) Patrick Caulfield made his first print, Ruins ( P04076 ), in 1964 at Kelpra Studio, the fine art print workshop established by master printer Chris Prater in the late 1950s. Having chosen the medium of screenprinting for its ability to create immaculately flat areas of bright, saturated colour, Caulfield continued to collaborate with Prater and, from the late 1960s, with Chris Betambeau and later Bob Saich at Advanced Graphics. He produced prints regularly throughout his career, until 1999 when he made Les Demoiselles d’Avignon vues de Derrière ( P78309 ), an homage to Pablo Picasso’s great painting Les Demoiselles d’Avignon 1907 (Museum of Modern Art, New York). For Caulfield, printmaking was a parallel activity to his painting, allowing him to explore the same subject matter and artistic concerns, as he explained: Because I’m such a slow producer of paintings, I regard printmaking as a way of extending the kind of imagery that concerns me, because of its multiplication in editions. I don’t think of a print as very different to a painting, because I make a painting for each print in more or less detail. I’m not really a printmaker at all. I provide an image and then it’s printed by professional printers. It’s a relief to see this work under way. (Quoted in Livingstone, p.31.) |
| 有田町的黑色烧瓶 | White Ware Prints is a portfolio of eight screenprints made at Advanced Graphics, a fine art print workshop in London. It was published in an edition of forty-five with thirteen proofs of each image by Waddington Graphics, London; Tate’s set is the sixth of the artist’s proofs. Each print is signed by the artist and inscribed ‘AP’ below the lower right corner of the background set in a broad white margin. The initials ‘WG’ are embossed into the corner of each print. In the White Ware series, the predominant colour scheme is black and white. The subject of each print is a single white ceramic pot represented against a dark background. Caulfield told Alan Cristea, his print dealer, that the inspiration for this series came from the Victoria & Albert Museum in London, and specifically from the catalogues they published of their collections of oriental ceramics (email to the author 16 March 2009). The term white ware simply refers to any pottery that has a white glaze. The colour of the ground varies from print to print, from dark blue to grey to brown to black. Three of the prints have accents of other, brighter colours, possibly suggestive of light falling through coloured glass. All of the prints have shafts of strong white light as part of their composition, while some include a light source such as a lampshade or window. As with many of Caulfield’s images, such as Wall Plates (1997, P79185 - P79188 ), the light source appears to come predominantly from the top right, although the artist’s intention was not to imitate the effects of light in a realistic fashion. Arita Flask-black depicts a curvilinear white vase with a narrow neck set in the foreground against a black background. A broad shaft of white light streams down from the top right hand corner, casting sharp black shadows around the pot. A muted pink crescent forms a highlight to the left of the flask, possibly suggesting light reflected off, or through, a coloured object. The composition of this print is closely related to another print in the same portfolio, Arita Flask ( P79191 ). Arita is a place in Japan famous in the eighteenth century for its porcelain, much of which was exported to Europe. In many ways, Caulfield’s increasing preoccupation with the representation of light and shadow became in itself the subject matter of his work, and this is particularly true of White Ware Prints . Speaking to Marco Livingstone in the early 1980s he explained: ‘Once I got on to shadows, I really went to town; they became compositional elements, in fact more than the objects that the shadows came from. They’re all silhouettes. You accept them as shadows, but they’re not at all as shadows would be.’ (Quoted in Livingstone, p.86, note 50.) He continued: ‘I’m not actually painting from observation of light, I’m making up an idea of how light could appear to be. The angles of light in naturalistic terms could be totally wrong, but they either help the composition of the picture or they help the feeling of light more strongly.’ (Quoted in Livingstone, p.95.) Writing about the depiction of light in the White Ware Prints , Mel Gooding described how light: is reduced to the most beautifully precise sign in images of startling abstract refinement. Caulfield’s abiding preoccupation with light is a component of his deepest philosophical and thematic concerns. For light is the very element of the visual, it is the determinant of colour, it discloses space. To consider visual representation and its paradoxes is to contemplate before anything else the phenomenon of light. (Gooding, p.15.) Patrick Caulfield made his first print, Ruins ( P04076 ), in 1964 at Kelpra Studio, the fine art print workshop established by master printer Chris Prater in the late 1950s. Having chosen the medium of screenprinting for its ability to create immaculately flat areas of bright, saturated colour, Caulfield continued to collaborate with Prater and, from the late 1960s, with Chris Betambeau and later Bob Saich at Advanced Graphics. He produced prints regularly throughout his career, until 1999 when he made Les Demoiselles d’Avignon vues de Derrière ( P78309 ), an homage to Pablo Picasso’s great painting Les Demoiselles d’Avignon 1907 (Museum of Modern Art, New York). For Caulfield, printmaking was a parallel activity to his painting, allowing him to explore the same subject matter and artistic concerns, as he explained: Because I’m such a slow producer of paintings, I regard printmaking as a way of extending the kind of imagery that concerns me, because of its multiplication in editions. I don’t think of a print as very different to a painting, because I make a painting for each print in more or less detail. I’m not really a printmaker at all. I provide an image and then it’s printed by professional printers. It’s a relief to see this work under way. (Quoted in Livingstone, p.31.) |
| 碉堡上的城垛 | Battlements is one of several paintings of simplified architectural details seen in close-up which Caulfield painted in the mid-1960s. A painting of a Parish Church (Scottish National Gallery of Modern Art, Edinburgh) made in the same year was based on a line drawing of a typical country church which Caulfield found illustrated in a book, The Parish Churches of England (J.Charles Fox and Charles Bradley Ford, London 1954). The diagram depicts a common type rather than a particular example, appealing to Caulfield’s interest in creating generic images. Battlements and a related painting, Stained Glass Window 1967 (Musée National d’Histoire et d’Art, Luxemburg), represent fragments of this fictional church. Because he wanted to depict his subjects at life size, the artist was obliged to paint these on canvas rather than on his usual hardboard which was not available in large enough sections. However, stylistically they exemplify the technique he had been perfecting since 1963. At the Royal College of Art, for his final year project of making a transcription from a famous work of art, Caulfield selected the famous Romantic painting by Eugène Delacroix (1798-1863), Greece Expiring on the Ruins of Missolonghi 1826 (Musée des Beaux-Arts, Bordeaux). Caulfield’s version, Greece Expiring on the Ruins of Missolonghi, after Delacroix , 1963 (Tate T03101 ) is a representation of the original using large areas of flat, monochromatic colour defined with simple black outlines, reminiscent of sign-making or poster design. This became Caulfield’s trademark style for a number of years. He was influenced by the work of French Cubist, Fernand Léger (1881-1955), who used a linear reinforcement to the edge of his forms to transform flat shapes into convincing signs of three-dimensional objects in space. Partly as a reaction against the dominant American movements of Abstract Expressionism and Pop Art, Caulfield was looking further back in time, towards the European continent for inspiration. Although his simplified and stylised technique had much in common with Pop, his portrait of Spanish Cubist Juan Gris (1887-1927) painted in 1963 and a series of Still Lifes painted in 1964 ally his work with high rather than low art influences. However, in common with his contemporaries, Caulfield was taking his imagery from the world of the familiar, commenting in 1967 that ‘what we call inspiration results from a careful sifting of everyday experience’ (quoted in Patrick Caulfield: Paintings 1963-81 , p.13). In Battlements a single row of crenellated battlements crosses the canvas at a slight slant. Their three dimensional form is outlined in black line over a monotone dark blue. The artist has detailed the occasional crack and chip in the stonework, counteracting the decorative patterning they create. This confers the sense that they are derived from a view of the real object rather than being an invention of the artist’s imagination. Behind them, the background is a monotone light blue. The monochrome quality of the paint and the use of unnatural colours confer a sense of emptiness and unreality on the ‘scene’. The atmosphere is similar to that of a slightly earlier painting View of the Rooftops 1965 (private collection), which depicts a series of blue chimneys rendered in a similar manner against an empty red ground. Other paintings made in 1967 share a sense of bleak and barren isolation at odds with the attractive, bright colours in which the images are painted. Marco Livingstone has characterised this as ‘a deep sense of unease’ in Caulfield’s work which lurks ‘within even the most apparently cheerful of images’ (‘Perspectives on Painting: Seven Essays on the Art of Patrick Caulfield’, Patrick Caulfield , p.9). |
| 1.“ 啊！这样的生活每天都如此。” | This set of 22 screenprints came about after Caulfield was invited in the late 1960s to make a limited edition book. Caulfield's chosen subject was the poetry of Jules Laforgue which he first encountered and admired as a student. Laforgue was born in Montevideo in 1860, but in 1876 moved to Paris where he died in 1887. Laforgue's poetry, blending oblique observations and associations, was an important influence on such later poets as T.S. Eliot. Of the prints , Caulfield observed: 'They are not illustrations but complementary images. There are few visually descriptive lines in Laforgue. The images suggest the things I have imagined the poet seeing when he wrote the poem...' |
| 煤火 | - |
| 壁灯 | - |
| 弗洛伊德的烟 | - |
| 粉红色水壶 | Caulfield's simplified, deliberately cartoon-like style makes no claims to a 'realistic' depiction of objects. Instead, through his work, Caulfied invites us to consider the nature of representation . The 'Jugs' have been radically reduced to a simple black outline, with planes of colour to represent light and shading, and yet they remain distinctly recognisable. |
| 灯和官窑瓷器 | White Ware Prints is a portfolio of eight screenprints made at Advanced Graphics, a fine art print workshop in London. It was published in an edition of forty-five with thirteen proofs of each image by Waddington Graphics, London; Tate’s set is the sixth of the artist’s proofs. Each print is signed by the artist and inscribed ‘AP’ below the lower right corner of the background set in a broad white margin. The initials ‘WG’ are embossed into the corner of each print. In the White Ware series, the predominant colour scheme is black and white. The subject of each print is a single white ceramic pot represented against a dark background. Caulfield told Alan Cristea, his print dealer, that the inspiration for this series came from the Victoria & Albert Museum in London, and specifically from the catalogues they published of their collections of oriental ceramics (email to the author 16 March 2009). The term white ware simply refers to any pottery that has a white glaze. The colour of the ground varies from print to print, from dark blue to grey to brown to black. Three of the prints have accents of other, brighter colours, possibly suggestive of light falling through coloured glass. All of the prints have shafts of strong white light as part of their composition, while some include a light source such as a lampshade or window. As with many of Caulfield’s images, such as Wall Plates (1997, Tate P79185 -79188), the light source appears to come predominantly from the top right, although the artist’s intention was not to imitate the effects of light in a realistic fashion. Lamp and Kuan Ware depicts a white vase in the foreground against a dark grey background. To the right of the image is part of a white lampshade with a sharp beam of white light emerging from the top of it. This shaft of light cuts right across the top right hand corner of the print. Strong black shadows are cast by the vase and lamp shade. The composition of this print is closely related to that of another one in the same portfolio, Lamp and Lung Ch’uan Ware ( P79193 ). Kuan Ware pottery dates from the Sung Dynasty in China (twelfth to thirteenth century) and is known for its dark white glaze with a distinctive crackled pattern. In many ways, Caulfield’s increasing preoccupation with the representation of light and shadow became in itself the subject matter of his work, and this is particularly true of White Ware Prints . Speaking to Marco Livingstone in the early 1980s he explained: ‘Once I got on to shadows, I really went to town; they became compositional elements, in fact more than the objects that the shadows came from. They’re all silhouettes. You accept them as shadows, but they’re not at all as shadows would be.’ (Quoted in Livingstone, p.86, note 50.) He continued: ‘I’m not actually painting from observation of light, I’m making up an idea of how light could appear to be. The angles of light in naturalistic terms could be totally wrong, but they either help the composition of the picture or they help the feeling of light more strongly.’ (Quoted in Livingstone, p.95.) Writing about the depiction of light in the White Ware Prints , Mel Gooding described how light: is reduced to the most beautifully precise sign in images of startling abstract refinement. Caulfield’s abiding preoccupation with light is a component of his deepest philosophical and thematic concerns. For light is the very element of the visual, it is the determinant of colour, it discloses space. To consider visual representation and its paradoxes is to contemplate before anything else the phenomenon of light. (Gooding, p.15.) Patrick Caulfield made his first print, Ruins ( P04076 ), in 1964 at Kelpra Studio, the fine art print workshop established by master printer Chris Prater in the late 1950s. Having chosen the medium of screenprinting for its ability to create immaculately flat areas of bright, saturated colour, Caulfield continued to collaborate with Prater and, from the late 1960s, with Chris Betambeau and later Bob Saich at Advanced Graphics. He produced prints regularly throughout his career, until 1999 when he made Les Demoiselles d’Avignon vues de Derrière ( P78309 ), an homage to Pablo Picasso’s great painting Les Demoiselles d’Avignon 1907 (Museum of Modern Art, New York). For Caulfield, printmaking was a parallel activity to his painting, allowing him to explore the same subject matter and artistic concerns, as he explained: Because I’m such a slow producer of paintings, I regard printmaking as a way of extending the kind of imagery that concerns me, because of its multiplication in editions. I don’t think of a print as very different to a painting, because I make a painting for each print in more or less detail. I’m not really a printmaker at all. I provide an image and then it’s printed by professional printers. It’s a relief to see this work under way. (Quoted in Livingstone, p.31.) |
| 黑白色插花 | This painting was executed during Caulfield’s last term at the Royal College of Art, London (attended 1960-3). At the time, perhaps influenced by Jasper Johns (born 1930), whose paintings of flags and targets of the 1950s had stressed the physical reality, or object nature, of the work as being of equal value to its surface image, art students were particularly interested in using everyday objects as the starting point for their paintings. In common with his contemporaries, such as David Hockney (born 1937) who was studying in the year above him at the Royal College, Caulfield was taking his imagery from the world of the familiar, commenting in 1967 that ‘what we call inspiration results from a careful sifting of everyday experience’ (quoted in Patrick Caulfield: Paintings 1963-81 , p.13). His early paintings used repeated patterns derived from such everyday objects as a soap packet, tartan fabric and a simple grid. In 1962 he incorporated structures, composed of strips of wood built into three dimensional grids resembling a garden trellis, into the surface of several paintings. The grids were surmounted by a cut-out image placed in the centre. Caulfield regarded these as unsuccessful and discarded them. Partly as a reaction against the dominant American movements of Abstract Expressionism and Pop Art, Caulfield looked to the work of European Cubists Juan Gris (1887-1927) and Fernand Léger (1881-1955) for inspiration. In such paintings by Léger as Still Life with a Beer Mug 1921-2 (Tate T02035 ), flat, monochromatic surfaces and surface patterning emphasise the decorative aspects of the image. In the 1960s Caulfield established his trademark style combining Cubist decoration with the more contemporary methods of sign-making and poster design. The grid background provided an early solution for juxtaposing an illusionistic image with a flat background and combining abstraction with figuration in one work. Two contemporaneous black and white paintings made on hardboard were the first works in which the artist felt he was able successfully to achieve this. These are Black and White Flower Piece and Engagement Ring (De Beers Central Selling Organisation, London). In Black and White Flower Piece a vase of roses is portrayed in the centre of the image, in front of a simple, trellis-like grid. This was created using masking tape for accuracy and consists of regular, narrow strips of white dividing the background into squares of black. Within each point of intersection, fine black lines following the outlines of the strips create a small square, resulting in further patterning. The grid’s square format refers to the traditional practice of squaring up a drawing, which Caulfield used in depicting the traditional still life subject of the flowers. Painted from a squared-up drawing made from life, the roses are a study in light and shadow – one half of the vase is black and disappears into the background in the space between the grid-lines. Fine black lines and areas of black shadow against white define the complex forms of the flowers which stand out dramatically against the regular pattern of the grid. Caulfield commented: ‘I like to pin down images’ (quoted in Patrick Caulfield: Paintings 1963-81 , p.13). The image is painted in a flat, even manner with no visible brushstrokes, in the manner of sign-painting. The artist carefully drew the outlines of the vase of flowers before painting the grid so that no ridges from the masking tape would show through. He deliberately used a square format in order to avoid the landscape and portrait connotations of horizontal and vertical formats. In a similar manner, the use of hardboard – a cheap material normally used by decorators - instead of canvas, set him at a remove from traditional high art, giving his work a distinctly contemporary feel. The use of household gloss enamel paint instead of oil, prior to a transition to acrylic, as well as his non-expressive, quasi-mechanical technique of applying the paint, have contributed to Caulfield’s frequent association with Pop Art. He has resisted this, dubbing it ‘social realism without emotion’ (quoted in Patrick Caulfield: Paintings 1963-92 , p.9). |
| 希腊在迈索隆吉翁的废墟上奄奄一息(在德拉克洛瓦之后) | In his final year at the Royal College of Art, Caulfield was set the task of making a transcription from a famous painting . He chose Delacroix’s Greece Expiring on the Ruins of Missolonghi 1827 [reproduced to the left], a work he knew only from a black-and-white reproduction.
Caulfield translated the painting in a hard-edge style, inventing the colours to suggest the propagandist tone of a political poster. |
评论