Victor Pasmore, Points of Contact No. 11
|Artist:||Victor Pasmore (1908 - 1998)|
|Title:||Points of Contact No. 11|
|Image Size:||24 in x 54 in (61.3 x 137.7 cm)|
|Framed Size:||34 1/4 in x 64 3/8 in (87 x 163.5 cm)|
|Signature:||The work is initialed in the lower right hand corner|
|Condition:||This work is in pristine condition|
REQUEST PRICE/SUBMIT BEST OFFER
Item # 828
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Historical Description of this artwork
In this work, the artist contrasts the mesmerizing effect of a million small dots with the exacting constructivist lines seen along the left hand side. Adding slight tonal variations, Pasmore creates an image that lulls the eye and quiets the mind through the use of repetitive imagery.
Created in 1967, this work was printed at Kelpra Studio London and printed by Marlborough Graphics. The artist initials “VP” appear in pencil in the lower right along with the date '67. The work is marked as a printer's proof in the lower left.
The organic contractions of the dot composed form call to mind the wandering flow of undirected water. The form progresses aimlessly from the right to the left of the image. Using the three varied lines at the left, Pasmore contrasts the organic movement of the dots with determined exacting quality of the lines. The large green dot adds a sense of weight and focus to the work.
Pasmore once stated, “To bathe objects in light is to merge them with the infinite.” Norbert Lynton expounded that, “light is Pasmore's stave, clef and key signature. He speaks of Turner turning from 'the perception of landscape illuminated from the outside, to the idea of landscape diffused and absorbed in the colour of light” (Lynton, 14) .
Catalogue Raisonné & COA:
It is fully documented and referenced in (copies will be enclosed as added documentation with the invoices that I will enclose with the sale of the work) :
1) Bowness, Alan and Lambertini, Luigi, Victro Pasmore: A Catalogue Raisonne of the paintings, constructions and graphics 1926-1979, 1980, listed as cat 13.
About the Framing:
This work is framed in a modern black frame with gold accents. The sleek lines of the frame allow the viewer to focus upon Pasmore's unique interpretation of form and the gold accents further enhance the artist's use of color. The work is framed with white linen mattes and a delicate beaded inner fillet.
What Do I Get With My Purchase?
The Certificate of Authenticity accompanies this work, guaranteeing its authenticity for as long as you own it.
All catalogue raisonné and historical documentation is included with your purchase.
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Victor Pasmore worked often in relief and collage. His artwork promotes the abstract form, sometimes on an architectural scale. A conscientious objector, Pasmore spent 123 in prison for refusing to enter into service during World War II. Some of his works are on view at the Tate Gallery, London.
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Artistic Styles of Pasmore
Rothko/ Miro 20th Century Modern Master, Contemporary British Master
Victor Pasmore Complete Biography
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Victor Pasmore Biography
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.