Victor Pasmore, Points of Contact No. 5
Signed Victor Pasmore screenprint, Points of Contact No. 5
|Artist:||Victor Pasmore (1908 - 1998)|
|Title:||Points of Contact No. 5|
|Medium:||Color Screenprint on Arches Paper|
|Image Size:||77 1/2 in x 15 in (197 x 38.1 cm)|
|Sheet Size:||84 in x 20 in (214 x 50 cm)|
|Framed Size:||92 3/4 in x 28 1/2 in (235.6 x 72.4 cm)|
|Signature:||This work has a guaranteed authentic signature by Pasmore in brown ink 'VP 65' in the lower right hand corner.|
|Condition:||This work is in great condition, a fine dark bold and fresh impression!|
Item # 1114
|Have One To Sell?|
Historical Description of this artwork
Composed along an extended vertical rectangle, this work expresses the organic abstraction with which Pasmore creates his prints. Pulling the viewer's perspective up and down the image, this work conveys a sense of lightness in the wave-like form at the top of the sheet and visual weight in the bottom with the dark, solid form.
Created in 1967, this color screenprint was printed at Kelpra Studio London and published by Marlborough Graphics. The artist initials “VP” appear in brown ink in the lower right along with the date '65. The work is marked 40/70 in pencil in the lower left hand side of the image and printed on Arches paper. Comprised of black in the upper and lower area of the work, the middle section is printed in grey.
Famous for his enveloping organic compositions, this work offers an intimate example of the artist's abstract style. Using a linear quality reminiscent of topographical maps in the top, the solid saturation of black on the bottom section of the work mirrors the amorphic shapes found in an ink-blot test. The central grey lines create a sense of weightlessness and draw the viewer's eye up to the topmost black linear area of the image. In all, the work has a very fluid quality which is reflected in the watercolor effect of the pigmentation and the repeated wave-like lines along the upper side.
PROVENANCE: Private Collection, Chicago
DOCUMENTATION / 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
catalogue raisonné graphics no 6.
About the Framing:
Conservation framed with archival materials and museum quality, this work is set in an incredible frame with gold and black moulding. The bronzed tone of the moulding compliments the contrasting black and grey on white of this work. Completed with white linen wrapped mattes and a matching inner fillet, this work is set behind an archival Plexiglas cover.
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.