作品信息
艺术家：胡里奥·勒·帕克
作品名：白色上的移动红色
质 地：木头和丙烯
尺 寸：153×153×15cm
编 号：0920
估 价：咨询价
成交价：未成交
胡里奥·勒·帕克 白色上的移动红色 匡时香港2017秋季拍卖会 正是此刻——西方艺术私人洽购展览 作品号：0920 2017-09-30 ~ 2017-10-02
Julio Le Parc
(ARGENTINEAN，B.1928)
Mobile Rouge Sur Blanc
Executed in 1960 wood and acrylic 153×153×15 cm
Provenance:
Nara Roesler Gallery
Born in 1928 in Mendoza，Argentina，Julio Le Parc attended the Escuela de Bellas Artes in Buenos Aires in 1943. Le Parc rapidly became engaged with the flourishing avant-garde scene and with leftist activist groups. By early 1960，Le Parc began incorporating movement and light into his research. Interested in the possibilities of movement，and the participation of the viewer，he developed his signature kinetic sculptures and light environments，which would ultimately bring him international recognition as a leading exponent of Kinetic Art. Julio Le Parc’s early paintings were influenced by the Constructivist Movement of Arte Concreto Invención，as well as artists such as Piet Mondrian and Victor Vasarely. However，since 1959，Le Parc has continued on his own independent path applying rigorous organizing principles to his paintings whether exploring the use of 14 scales of colors，or white，grey and black in varying yet precise endless combinations.
Julio Le Parc began experimenting with mobile elements in the 1960s as he was deeply interested in the notion of movement，instability and probability. The idea of moving away from the conception of a stable and definitive work led him to experiment with light boxes，which worked like diaphragms— ligamentous walls separating two cavities and allowing varied amounts of light to come through. In Mobile Rouge Sur Blanc，1960，a white screen (60 x 60 cm) is placed 5 cm away from another white surface of the same dimension. The latter is then cut into small red plexiglass parallel squares of 5cm x 5cm. The squares are carefully suspended by a nylon string，allowing each individual piece to twist and turn independently. The surrounding air and light define the movement of the squares，suggesting different light angles and Le Parc’s signature playfulness with atmosphere，technology，and movement throughout the piece.
In 2013，Le Parc’s work was the subject of a major retrospective，“Soleil froid”，at the Palais de Tokyo. His works are part of the main worldwide public collections including: MOMA New York，Tate London，MNAM/Centre Georges Pompidou Paris，LACMA，Louisiana Museum of Modern Art Humlebaek，Musée d’art contemporain de Montreal，MACBA Buenos Aires，Walker Art Center Minneapolis，The Museum of Fine Arts Houston，The Musée d’art Moderne de la ville de Paris，and Guggenheim Abu Dhabi.
来源：
Nara Roesler 画廊
胡里奥·莱·帕尔克1928年出生于阿根廷门多萨（Mendoza，Argentina），1943年进入布宜诺斯艾利斯美术学院学习。很快地，莱·帕尔克便加入了当地最负盛名的前卫艺术团体和左翼政治运动群体。从1960年代开始，莱·帕尔克把韵律与光线融入进自己的作品中。因为热衷于韵律的可能性和与观者的互动，他发明了他著名的动力雕塑和光源环境装置，正是这个系列使他最终成为了国际公认的动力艺术的先锋。胡里奥·莱·帕尔克的早期作品受到了Arte Concreto Invención，构成主义艺术，以及彼埃·蒙德里安、维克托·瓦萨雷利等艺术家的影响。然而，自1959年起，莱·帕尔克开始坚持自己的独特道路，将缜密的结构原则应用到自己的绘画中—不论是探索14种颜色的色域分布，还是将白色、灰色和黑色以有变化却又十分精准的状态呈现出无限的组合，都是艺术家独创的艺术方式。
胡里奥·莱·帕尔克出于对于韵律，不确定性及可能性的强烈兴趣，于1960年开始试验“动力元素”系列。这一个促使他离开固定的被定义的作品实验，也是他开始利用标准灯箱进行创作的系列。这些标准灯箱如同隔膜，通过线被串在墙上，而箱体与墙体间的空隙使得光线可以顺利透过。在1960年《白色上的移动红色》这件作品中，一个白色墙体以5厘米的距离被平行放置于另一个相同大小的白色墙体前，后者被切割成5厘米乘以5厘米大小的树脂玻璃，然后被非常小心的用尼龙绳串成每个独立方块都可以自由移动的距离，方块周围的光线和空气决定着方块的运动。作品体现了多种不同角度的光源，以及莱·帕尔克最擅长的对空间和科技的利用。
2013年，莱·帕尔克的回顾展“冷太阳”在巴黎东京宫举行。他的作品在许多世界重要的美术馆和公开收藏之中，包括纽约现代艺术馆、伦敦泰特美术馆、MNAM/巴黎蓬皮杜现代美术馆、洛杉矶艺术博物馆、路易斯安那现代艺术博物馆、蒙特利尔当代美术馆、布宜诺斯艾利斯当代艺术博物馆、明尼阿波利斯沃克艺术中心、休士顿美术馆、巴黎现代艺术博物馆和阿布达比古根汉美术馆。
(ARGENTINEAN，B.1928)
Mobile Rouge Sur Blanc
Executed in 1960 wood and acrylic 153×153×15 cm
Provenance:
Nara Roesler Gallery
Born in 1928 in Mendoza，Argentina，Julio Le Parc attended the Escuela de Bellas Artes in Buenos Aires in 1943. Le Parc rapidly became engaged with the flourishing avant-garde scene and with leftist activist groups. By early 1960，Le Parc began incorporating movement and light into his research. Interested in the possibilities of movement，and the participation of the viewer，he developed his signature kinetic sculptures and light environments，which would ultimately bring him international recognition as a leading exponent of Kinetic Art. Julio Le Parc’s early paintings were influenced by the Constructivist Movement of Arte Concreto Invención，as well as artists such as Piet Mondrian and Victor Vasarely. However，since 1959，Le Parc has continued on his own independent path applying rigorous organizing principles to his paintings whether exploring the use of 14 scales of colors，or white，grey and black in varying yet precise endless combinations.
Julio Le Parc began experimenting with mobile elements in the 1960s as he was deeply interested in the notion of movement，instability and probability. The idea of moving away from the conception of a stable and definitive work led him to experiment with light boxes，which worked like diaphragms— ligamentous walls separating two cavities and allowing varied amounts of light to come through. In Mobile Rouge Sur Blanc，1960，a white screen (60 x 60 cm) is placed 5 cm away from another white surface of the same dimension. The latter is then cut into small red plexiglass parallel squares of 5cm x 5cm. The squares are carefully suspended by a nylon string，allowing each individual piece to twist and turn independently. The surrounding air and light define the movement of the squares，suggesting different light angles and Le Parc’s signature playfulness with atmosphere，technology，and movement throughout the piece.
In 2013，Le Parc’s work was the subject of a major retrospective，“Soleil froid”，at the Palais de Tokyo. His works are part of the main worldwide public collections including: MOMA New York，Tate London，MNAM/Centre Georges Pompidou Paris，LACMA，Louisiana Museum of Modern Art Humlebaek，Musée d’art contemporain de Montreal，MACBA Buenos Aires，Walker Art Center Minneapolis，The Museum of Fine Arts Houston，The Musée d’art Moderne de la ville de Paris，and Guggenheim Abu Dhabi.
来源：
Nara Roesler 画廊
胡里奥·莱·帕尔克1928年出生于阿根廷门多萨（Mendoza，Argentina），1943年进入布宜诺斯艾利斯美术学院学习。很快地，莱·帕尔克便加入了当地最负盛名的前卫艺术团体和左翼政治运动群体。从1960年代开始，莱·帕尔克把韵律与光线融入进自己的作品中。因为热衷于韵律的可能性和与观者的互动，他发明了他著名的动力雕塑和光源环境装置，正是这个系列使他最终成为了国际公认的动力艺术的先锋。胡里奥·莱·帕尔克的早期作品受到了Arte Concreto Invención，构成主义艺术，以及彼埃·蒙德里安、维克托·瓦萨雷利等艺术家的影响。然而，自1959年起，莱·帕尔克开始坚持自己的独特道路，将缜密的结构原则应用到自己的绘画中—不论是探索14种颜色的色域分布，还是将白色、灰色和黑色以有变化却又十分精准的状态呈现出无限的组合，都是艺术家独创的艺术方式。
胡里奥·莱·帕尔克出于对于韵律，不确定性及可能性的强烈兴趣，于1960年开始试验“动力元素”系列。这一个促使他离开固定的被定义的作品实验，也是他开始利用标准灯箱进行创作的系列。这些标准灯箱如同隔膜，通过线被串在墙上，而箱体与墙体间的空隙使得光线可以顺利透过。在1960年《白色上的移动红色》这件作品中，一个白色墙体以5厘米的距离被平行放置于另一个相同大小的白色墙体前，后者被切割成5厘米乘以5厘米大小的树脂玻璃，然后被非常小心的用尼龙绳串成每个独立方块都可以自由移动的距离，方块周围的光线和空气决定着方块的运动。作品体现了多种不同角度的光源，以及莱·帕尔克最擅长的对空间和科技的利用。
2013年，莱·帕尔克的回顾展“冷太阳”在巴黎东京宫举行。他的作品在许多世界重要的美术馆和公开收藏之中，包括纽约现代艺术馆、伦敦泰特美术馆、MNAM/巴黎蓬皮杜现代美术馆、洛杉矶艺术博物馆、路易斯安那现代艺术博物馆、蒙特利尔当代美术馆、布宜诺斯艾利斯当代艺术博物馆、明尼阿波利斯沃克艺术中心、休士顿美术馆、巴黎现代艺术博物馆和阿布达比古根汉美术馆。
