Pasmore, Victor, La Grotta di Calipso
Signed Victor Pasmore, Etching Aquatint, La Grotta di Calipso
|Artist:||Pasmore, Victor (1908 - 1998)|
|Title:||La Grotta di Calipso|
etching and aquatint
|Image Size:||39 1/2 in x 39 1/2 in (100 cm x 100 cm)|
|Sheet Size:||39 1/2 in x 39 1/2 in (100 cm x 100 cm)|
|Signed:||VP 78, LR, pencil|
|Edition:||40/90, LL, pencil|
|Condition:||This work is in pristine condition|
|Gallery Price: |
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Composed in a unique square format on a full rectangular sheet of paper, Pasmore creates a mesmerizing image that fascinates the eye both through its tonal variation and delicate manipulation of form.
Created in 1978, this image was printed by 2RC Workshop, Rome. The work is numbered in pencil 40/90 in the lower left and entailed in the lower right.
Using distinct tones of warm rust inspired browns and inky black, Pasmore creates a signature organic image that is infused by a latent sense of growth that appears to be active just below the picture's surface. The inner forms outlined in brown appear to pull away and contract towards each other. Of Pasmore's work Norbert Lynton states, "the process invested in each work became and have remained patent ingredients, part of the work's meaning. The impersonality and finality of the reliefs, implied rather than truly inherent, have yielded to limitless imagings and actions continuing to the present. The work's messages are mostly about joy in life, in sight, in action.
The work of Victor Pasmore maybe compared to Arp, Calder, Cocteau, Dali, Hayter, Miro, Moore, Masson and Rothko.
Catalogue Raisonné & COA:
1) Bowness, Alan and Lambertini, Luigi, Victro Pasmore: A Catalogue Raisonne of the paintings, constructions and graphics 1926-1979, 1980, listed as cat. 68
About the Framing:
|Style:||Contemporary, Abstraction, Constructivism|
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Biography of Victor Pasmore
Can the artists of today express themselves as well in independent abstract as the old masters did in representational art I think they can, for art need not be representational. 'Art exists, not to instruct or persuade the mind,' Charles Morgan once wrote in a literary review, 'but to impregnate the imagination.' The brother of an artist should be able to reveal some home-truths, particularly if he can recall, as I do, such incidents as drawing battleships and aeroplanes with him in the nursery during the First World War. My brother has moved a long way since then, but some of his early traits remain unchanged. For instance, he always painted for himself. I used to attribute this to obstinacy or selfishness, but have since come to realize that single-mindedness or integrity would have been more fitting terms. For centuries artists have expressed themselves in terms of the visual world; but the task of the abstract painter today is different because he is striving to express beauty without recourse to the inherent appeal to natural forms. 'What beauty is I know not though it adheres to many things,' wrote Dorer.
'When we wish to bring it into our work we must gather it from far and wide.' This leads me to mention another trait in my brother, which his need to gather from far and wide. Like a research worker he moves forward only when the problem in front of him has been solved, but at the same time always looking toward: some ultimate goal. He has gathered knowledge both from nature and the old masters, and in his early work he learned their techniques and applied them to his pictures. The strength of his work, therefore, lies in the solid foundation he has in the past, from which he reaches out into the future. Now my brother has emerged on his own and has joined that community of painters and sculptors whom I like to call the 'music-makers' because they compose independently with forms and colours in the same way that musicians compose with sounds.