Lot description
迷戀虛空 Obsessions Vides 簽名左下：Mathieu 題識畫背框條：OBSESSIONS VIDES Signed lower left Mathieu Titled reverse stretch OBSESSIONS VIDES 早在2019 年羅芙奧季刊第27 期「藝術與投資」專欄：快意譜寫華麗史詩 抒情抽象之父喬治．馬修（Georges Mathieu, 1921-2012）一文就直指馬修作為法國當代藝術巨擘，相較於同時期朱德群、趙無極、哈同、蘇拉吉，其重要歷史地位與市場價值背離，可預期的成長空間吸引全球市場關注。而這兩年間的發展，無論是交易市場的熱絡，亦或藝術家百歲誕辰紀念年份，全球美術機構與畫廊先後推出回顧展覽，皆證明藝術市場的脈絡發展終歸有跡可循。戰後抽象的浪潮中，「抒情抽象之父」－ 喬治．馬修，無疑是領先群英高掛天際的啟明之星。他運用更直觀、原始的方式宣揚抒情抽象理論，倡言抽象藝術從幾何概念解放，以全新的型式表現，展露帶有東方書法語言，抽象符號與圖像化的演變。馬修甚至將成果拓展至應用藝術的實踐，載入藝術史冊的功績赫赫且影響致遠。他在觀眾面前「現場即興繪畫」，以表演型式揭開創作過程的面紗，運用媒體拉近大眾的注意力，實質上打破抽象藝術歸屬知識份子，高冷不易理解的刻板印象。1950 年代馬修的抽象畫多研究無定形的形體（amorphous shapes）和實驗性「滴流」（dripping）技法，他使用油彩滴流的非具象形體，直接從管狀顏料擠出條狀色料，產生浮雕式的輪廓與肌理，達成流暢直覺性的表現。來到1970 年代深淺有層次的背景，線條色彩變化萬千華麗繽紛。筆觸也從條狀色料的圓潤，多了畫刀刮擦畫面的強勁。而1980 年代其風格有了巨大轉變，後世稱為「宇宙時期」（The Cosmic Period），此系列堪稱在獨特性、爆發力、速度感、渲染張力上都是藝術家無與倫比，高掛於藝術史星空的偉大成就。載於《喬治．馬修：創作50 年》的展覽評論，更盛讚此系列是對當時風起雲湧的全球性動盪最好的演繹。而此系列更是近年，藝術家拍賣交易最為活絡的項目。 《迷戀虛空》完成於1989 年，該年度馬修受邀於「法國梅斯文化館」舉辦個展，見證創作晚期另一波璀璨高峰。《迷戀虛空》難能可貴之處，在於同時保留早期自動性滴流特色，與後來剛強銳直的噴發性線條。紅、藍、金三色恣意交錯，墨色的噴濺飛舞，激盪在渾沌虛空的無涯之中。《迷戀虛空》的題名也正面回應藝術家核心理念，以速度至上，避免來自意識干擾的可能性。獨立與專注的直覺意志，毫不預留設限，也不依賴外來的物質型態。隨線條與筆觸的動勢昂揚，更能想像一代大師不假思索，臨場揮毫的瀟灑姿態，正如法國前文化部長及作家馬樂侯（André Malraux）盛譽的「西方的書法家」之名。 In 2019, the article, "Composing Grand Epics with Rapid - Georges Mathieu, The Father of Lyrical Abstraction", in the Art and Investment column of Ravenel Quarterly No. 27 pointed to George Mathieu's role as a master of French contemporary art. Compared to artists from his time, such as Chu Teh-Chun, Zao Wou-Ki, Hans Hartung, and Pierre Soulages, however, Mathieu's key role in history was not directly reflected in the market value of his works. Hence, the predicted growth of his work has attracted global market attention. Over the past two years, this trend of development is reflected in the active transactions of the art market, the artist's centennial birthday celebration, and the retrospective exhibitions launched by art organizations and galleries around the world. In the wave of post-war abstraction, the "father of lyrical abstraction" Georges Mathieu undoubtedly stood as the most inspirational and talented pioneer. He expressed the theory of lyrical abstraction by using a more intuitive, primitive method to advocate the liberation of abstract art from geometric concepts while presenting it in a whole new style. In addition to demonstrating the evolution of abstract symbols and raphics in the language of eastern calligraphy, Mathieu even expanded the approach to the practice of applied art, leaving a profound impact in art history with his many remarkable achievements. He mprovised paintings in front of viewers and unveiled the creative process through expressive performances. Drawing public attention through the media, Mathieu broke the stereotype that abstract art could only be appreciated by intellectuals due to being too difficult to approach and understand. Most of Mathieu's abstract paintings from the 1950s focused on amorphous shapes and the experimental "dripping" technique. He applied the abstract form of dripping oil paint by directly squeezing paint out of its tube to create embossed outlines and textures for a smooth, intuitive expression. By the 1970s, Mathieu's work displayed a layered background with varying shades and brilliantly colored lines. More lette knife marks were also visible in the originally smooth color strips. Mathieu's style changed drastically by the 1980s in what the art community later referred to as "The Cosmic Period." From the perspectives of uniqueness, versatility, speed, and immersivity, this series indeed marked an unparalleled achievement by the artist that deserves to be recorded in art history. The exhibition critique published in Mathieu: 50 ns de Création described this series as the best illustration of the global turmoil during that surging era. In recent years, this series has proven to be the most popular item in art auctions and trades. Completed in 1989, the same year when Mathieu was invited to hold a solo exhibition at Maison de la Culture de Metz, The Obessesions Vides served as testimony to yet another glamorous climax in the later phases of Mathieu's creation. The Obessesions Vides is valuable for retaining the characteristics of automatic dripping in Mathieu's early works. The dripping paints boldly intersect with the firm and versatile lines in red, blue, gold as the ink-colored splashes poured into a chaotic void. The title, Obessesions Vides, also echoes the artist's core concept of speed and freedom from conscious distraction, conveying an independent and focused intuition with neither any predetermined limits nor dependency on external materials. Following the dynamic, lively outlines and pen strokes, it is possible to imagine how the art master gracefully created the painting without too much thinking, like a "western calligrapher" as described by André Malraux, the former Minister of Culture in France and a novelist.
