Victor Pasmore, Senza Titolo (Untitled) 10, 1989
Signed Victor Pasmore Hand-Signed Color Etching and Aquatint, Senza Titolo (Untitled) 10, 1989
|Artist:||Victor Pasmore (1908 - 1998)|
|Title:||Senza Titolo (Untitled) 10, 1989|
|Medium:||Color Etching and Aquatint on Fabriano Paper|
|Image Size:||78 3/4 in x 26 1/2 in (200 cm x 67.5 cm)|
|Sheet Size:||101 1/2 in x 36 1/4 in (258 cm x 92 cm)|
|Framed Size:||approx. 112 in x 47 in (284.48 cm x 119.4 cm)|
|Edition:||Numbered from the edition of 90 in pencil in the lower left margin, there are also 15 artist’s proofs; printed by Vigna Antoniniana Stamperia d’arte, published by Marlborough Graphics Ltd.|
|Signature:||This work is hand-signed by Victor Pasmore (Chelsham, 1908-Valletta, 1998) in pencil in the lower right margin.|
|Condition:||This work is in excellent condition.|
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Historical Description of this artwork
Victor Pasmore Senza Titolo (Untitled) 10, 1989 is a colorful abstraction showcasing Pasmore’s unique artistic style. Famous for his enveloping organic compositions, Pasmore offers an intimate example of his print-making techniques. Using a linear quality reminiscent of topographical maps, the organic saturation of bright blue throughout work mirrors the amorphic shapes found in an ink-blot test. Behind the blue shape is a subtle, beige background. The background’s delicate coloring allows the blue to truly stand out. The two colors contrast strongly yet still appear to complement each other. The floating blue dots combine to create a sense of weightlessness that draws the viewer’s eye upward and to the outer margins of the frame. It is as if Pasmore is indirectly teaching the viewer how to appreciate this work. In all, the work has a very fluid quality which is reflected in the watercolor effect of the pigmentation and the repeated wave-like pattern moving through the page. This large-scale etching is dynamic and abstract, sure to stand out in any room.
Created in 1989, this color etching and aquatint on Fabriano paper is hand-signed by Victor Pasmore (Chelsham, 1908-Valletta, 1998) in pencil in the lower right margin. Numbered from the edition of 90 in pencil in the lower left margin, there are also 15 artist’s proofs; printed by Vigna Antoniniana Stamperia d’arte, published by Marlborough Graphics Ltd.
Catalogue Raisonné & COA:
Victor Pasmore Senza Titolo (Untitled) 10, 1989 is fully documented and referenced in the below catalogue raisonnés (copies will be enclosed as added documentation with the invoices that will accompany the sale of the work).
1. Lynton, Norbert. Victor Pasmore: Paintings & Graphics 1980-1992. London: Lund Humphries. Listed and illustrated as catalogue raisonnè no. G62.
2. A Certificate of Authenticity will accompany this artwork.
About the Framing:
Framed to museum-grade, conservation standards, Victor Pasmore Senza Titolo(Untitled) 10, 1989 is presented in a complementary moulding and finished with silk-wrapped mats and optical grade Plexiglas.
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.