domingo, 27 de junho de 2021

Gladíolo com Duas Laranjas (Gladioli with Two Oranges) - David Hockney


 

Gladíolo com Duas Laranjas (Gladioli with Two Oranges) - David Hockney
Coleção privada
OST - 65x81 - 1996

Texto 1:
Gladioli with Two Oranges depicts a sprightly bunch of burgundy flowers bursting from a rounded glass vase, with a rich colour pop of orange from two casually placed pieces of fruit. Rendered in short horizontal brushstrokes of vibrant cerulean, the enigmatic background denies specificity of time, place and scene. Yet though the background remains completely abstracted, the attention given to the geometric planes, tonal gradation, and accompanying shadows beneath the pot restores our mind’s ability to recognise three-dimensionality in direct association with our own experience of receiving such a joyous arrangement. Throughout the picture plane, Hockney’s application of colour forms a remarkably strategic tool to generate depth in an otherwise flattened composition. By adding a touch of dark paint to the respective burgundy, orange, green, and blue hues, Hockney adds depth while keeping his hues consistent. The result is a simplified and pared-down colour palette that offers a purist depiction of the scene. In reducing the colour palette to a limited number of colours and shades, Hockney directs his artistic curiosity and painterly inventiveness towards other variables such as space and form. Here, Hockney dispenses with traditional perspective and flattens the background to emphasise the objecthood of the flower and fruit as the main subjects of the composition. Hockney felt that it was an elemental part of an artist's practice to be able to render the soft lines and volumes contained in the form of a flower with clarity and authenticity – not necessarily a mimetic type of authenticity, but rather of the kind championed first by the Impressionist painters, where the light and colour of any given moment can differ drastically from the next; where the same object is constantly shifting and changing right in front of us. Hockney realised that in depicting a simple bouquet of flowers, there was an infinite number of ways that he could do so. Gladioli with Two Oranges is therefore more about the process of painting a still-life, than about the record of the object itself.
The present work most importantly signifies Hockney’s momentous undertaking of traditional subject matter – the venerated genre of the still life – at the height of his artistic powers, when he must have finally deemed himself ready and worthy to encounter his heroes and predecessors, including Vincent van Gogh, Paul Cézanne, Claude Monet and Johannes Vermeer. In its exploration of experimental still life painting, Gladioli with Two Oranges invokes not only a centuries-old art historical tradition, but also a motif that is of central importance within Hockney’s own oeuvre. Still life painting first captured Hockney’s interest in the 1960s, and served as a focus for a number of early works; from there, through the precise realism of the artist’s 1970s painting, to the colourful and imaginative abstraction of the present work and other 1980s paintings, the still life genre has allowed Hockney to continually refresh and explore his creative vision through familiar subject matter. Describing the draw of still life painting, the artist reflects: “I think every artist who deals with the visible world must come back to them. You begin to see how many choices you can make in even these simple things right in front of you. How exciting they are” (David Hockney, quoted in: Piet de Jonge, ‘Interview with David Hockney’, in: Exh. Cat., Rotterdam, Museum Boymans-Van Beuningen, David Hockney: Paintings and Photographs of Paintings, 1995, p. 34).
Hockney's intense occupation with his still-life series is a testament to how much he enjoys the genre. The pleasure of painting is an essential element of his work. He said, "I think anyone who makes pictures loves it, it is a marvelous thing to dip a brush into paint and make marks on anything, even on a bicycle, the feel of a thick brush full of paint coating something. Even now, I could spend the whole day painting a door just one flat colour" (David Hockney cited in: Nikos Stangos. Ed., David Hockney by David Hockney, London 1976, p. 28). Throughout art history, flowers have remained a traditional focus for all painters from the Dutch Old Masters to the Post-Impressionist masters and to Pop art innovators. Hockney’s purist depiction of six purple violets clearly pays homage to the master of still-life and landscape, Vincent van Gogh. The work draws visual reference to van Gogh’s dazzling Sunflowers, which was painted a century prior to Hockney’s still life. Expressing his admiration for the influential Dutch Post-Impressionist painter, Hockney commented, ‘I’ve always had quite a passion for Van Gogh, but certainly from the early seventies it grew a lot, and it’s still growing. I became aware of how wonderful [his paintings] really were. Somehow, they became more real to me…it is only recently they’ve really lived for me’ (David Hockney, quoted in Marco Livingstone, David Hockney, New York, 1997, p. 149).The background is perhaps the most painterly element of the painting. The brushstrokes are vivid and clear. They function to close the space between background and foreground, flattening the image and dispensing with the aura of illusion. The vase could be resting on a windowsill or a tabletop. Like Monet, Hockney frees colour from pictorial veracity and allows us to enjoy it purely as an impression or emotion.
Throughout his remarkable career, David Hockney has successfully merged a deep appreciation for and awareness of art historical precedent with an unwavering desire to push the boundaries of contemporary art through his own, utterly unique painterly vision. Used to remarkable effect in Gladioli with Two Oranges, this tension between tradition and innovation has, over the past sixty years, distinguished Hockney as amongst the foremost artists of the contemporary age. As seen in Gladioli with Two Oranges, the still life, one of the most traditional genres of painting, becomes Hockney’s template upon which he subverts traditional perspective and notions of depth while trying to depict his own idiosyncratic reality. Gladioli with Two Oranges is a glowing exaltation of light, space, and colour refracted through the lens of art history while suffused with personal meaning and transformation – manifesting the supreme quintessence of Hockney’s artistic output that powerfully establishes him as one of the greatest painters of the Twentieth and Twenty-First Centuries.
Texto 2:
Gladíolo L. é o nome comum das plantas bulbosas floríferas do gênero Gladiolus (do latim, diminuitivo de gladius, espada) da família iridaceae.
O gênero Gladiolus contém cerca de 260 espécies, das quais 250 são nativas da África subsariana, principalmente da África do Sul. Cerca de 10 espécies são nativas da Eurásia. Existem 160 espécies de gladíolos endémicos do sul da África e 76 da África tropical. As espécies variam desde muito pequenas até às espetaculares espigas de flores gigantes disponíveis no comércio.
São largamente cultivadas no mundo inteiro, por causa dos seus cachos altamente decorativos e que têm grande valor comercial.

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