Richard Lin (British, 1933-2011), (Lin Show-Yu)  林壽宇 1.3.1964 - Painting Relief  1964

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Lot 8
Richard Lin
(British, 1933-2011)
(Lin Show-Yu)
林壽宇
1.3.1964 - Painting Relief
1964

Sold for HK$ 6,175,625 (US$ 796,845) inc. premium
Richard Lin (British, 1933-2011), (Lin Show-Yu)
林壽宇
1.3.1964 - Painting Relief
1964

oil, aluminium and perspex on canvas

137.1 x 116.9 cm (54 x 46 in)

This work was executed in 1964.

Footnotes

  • This work will be included in the forthcoming catalogue raisonné currently being prepared by The Estate of Richard Lin Show Yu.

    Provenance
    Collection of the Artist, UK
    Private Collection, UK (gift from the artist)
    Acquired directly from the above by the present owner circa 1975

    Exhibited
    Kassel, Germany, documenta III, 1964, p. 366, no. 3
    Hong Kong, Bonhams, Richard Lin Show-Yu: A Retrospective of Major Works from the 1950s to 70s, 2019, p. 40, illustrated in colour

    Literature
    Kaohsiung Museum of Fine Arts, One is Everything - Homage to the Master: 50 Years of Work by Richard Lin, Kaohsiung 2010, p. 288, illustrated in black and white

    林壽宇
    1.3.1964 - 繪畫浮雕
    油彩 鋁板 有機玻璃 畫布
    1964年作

    此作將收錄於由林壽宇藝術資產正籌備編篡的《林壽宇作品編年集》

    來源
    藝術家收藏(英國)
    英國私人收藏 (得自上述收藏)
    現藏家直接購自上述收藏,約1975年

    展覽
    「第三屆卡塞爾文件展」,德國 ,1964年 ,第366頁 ,編號3
    「林壽宇:1950至1970年代重要作品回顧展」,香港邦瀚斯 ,2019年 ,第40頁 ,彩圖

    出版
    《一即一切 – 向大師致敬系列 林壽宇50年創作展》,高雄市市立美術館,高雄,2010年,第288頁,黑白圖


    1.3.1964 Painting Relief by Richard Lin is a seminal work that represents the pinnacle of his oeuvre in its awareness to material, mathematical precision, and geometric abstraction. Radiating a spiritual aura through an elementally harmonious composition, the present work is distinguished by its pristine provenance, having been exhibited as one of the artist's only three works at documenta 3 in 1964, the third edition of the leading international contemporary art exhibition in Kassel, and held in only one private collection since its execution. Unveiled in Asia and appearing on the market for the first time since the 60s, 1.3.1964 Painting Relief represents Lin's most acclaimed and sought-after body of work, and is the artist at his very finest.

    Born into an eminent Taiwanese family and growing up in Hong Kong, Lin moved to England in 1952. Situated in the Western world, Lin pondered what art could be truly his own. In his early works of the 1950s, Lin experimented with representational paintings and lyrical abstraction, in which we see the influence of Chinese landscape paintings through the employment of ink and wash brushstrokes. In 1958, as he was completing his degree at Regent Street Polytechnic in London, the Institute of Contemporary Arts (ICA) held a solo exhibition of his abstract series. Immediately recognized by Western galleries, Lin's talent led to another solo exhibition at Gimpel Fils in 1959. In 1964, Lin was invited as the first British-Taiwanese artist to participate in the quinquennial contemporary art exhibition, documenta 3, in Kassel, Germany. The present work was selected as one of the only three works to enter what is irrefutably the most important contemporary art exhibition in history. Founded by artist and teacher Arnold Bode in 1955, documenta was established on a post-war idealism to restore modern international art that was banned under the Nazi regime, with an aim to revive global culture and civilization. 1964 marked the third edition of documenta, organized by Arnold Bode in collaboration with Werner Haftmann. Featuring 353 international artists, documenta 3 focused on traditional genres of painting, sculpture, and graphic art, with an emphasis on the return to the object and artist as an individual. Haftmann wrote in the catalogue, that the exhibition "no longer has anything to do with arguments and groups. It is based on the simple principle that art is what important artists do. It concentrates on individual personalities. For one hundred days, a model museum of contemporary art was created. The modern art museum should be the place of encounter, it should present each individual art work in an environment where it unfolds the richness and meaning." The present work was exhibited alongside works by Francis Bacon, Jean Dubuffet, Sam Francis, Jasper Johns, Ellsworth Kelly, Lee Bontecou, and Piet Mondrian among others. Lin's entry into documenta, signified his artistic talents among Western contemporaries.

    In the present work, Lin combines geometric shapes in relief, employing pieces of acrylic and aluminum on a white canvas at precisely calculated angles. Two aluminum rectangles surround the left perimeter of a black acrylic square, resulting in a rectilinear composition. Self-contained, the geometric shapes do not extend to the edges of the canvas, highlighting the mathematical precision and introspective approach to Minimalism that are central to his artistic practice. The grid composition draws similarities to Piet Mondrian's geometric abstractions in its horizontal and vertical flatness and equalization of texture. Both Lin and Mondrian hoped to use the purest methods to achieve harmony, employing balanced arrangements to unite the material and spiritual worlds. While Mondrian highlights the sense of space through dividing color fields, Lin employs variations of black and white as seen in the present work, which results in a monochromatic composition with a mesmerizing presence.

    Our eyes are drawn to the core of the canvas, the black reflective square that appears to advance and recede under different perspectives of light. Upon closer inspection, a strip of exposed white canvas appears at the bottom of the black square. The motif of the square traces back to Kazimir Malevich's Suprematism and his iconic Black Square. Painted in 1915, The Black Square revolutionized the development of Russian avant-garde art in its simple geometric form. Reminiscent of Malevich's minimal compositional maneuvering, 1.3.1964 Painting Relief possesses a contemplative serenity and magnetic attraction that inevitably echo the idea of the cosmos and energetic essence of the universe, one that both artists were influenced by. Malevich described his Black Square as the "total eclipse" that he had been maturing in his art, "a philosophical color system for realizing the new achievements of my ideas as cognition." Similarly, the idea of the eclipse was central to Lin's oeuvre, which appears in his first professional work as an artist, an etching of Bayeux Cathedral, and later in his Sun & Moon series of the late 50s. Lin's cosmic idea of the eclipse was rooted from his philosophical mode of thought of the teachings of Laozi and Zhuangzi, and his upbringing in the East during his formative years. Drawing inspiration for his works from the unconstrained and infinite force of nature, Lin once stated in an interview, "creation will always find its own path and direction wherever it goes, I cannot force it, and naturally two squares will form and appear."

    Representing Lin's artistic maturity and relevance in the international art historical context, 1.3.1964 Painting Relief echoes a realm of quietude and harbors an unimposing allure through its understated palette and geometric harmonious composition, serving as the ultimate epitome of Lin's disciplined pursuit of simplicity.

    林壽宇深具開創性的作品《1.3.1964 – 繪畫浮雕》展現了關於創作材質、數學準確性與幾何抽象的高度領悟,是代表藝術家藝術成就的顛峰之作。基本元素所組成的和諧構圖流露出精神性的光輝,清楚且重要的來源使得這件作品更為珍稀。這件作品是林壽宇參展1964年在卡塞爾舉辦的重要國際當代藝術展會「第三屆文件展」(documenta 3 )的三件作品之一,自完成以後即長期由同一私人收藏持有。作為林壽宇最受讚揚及追捧的精心之作,《1.3.1964 – 繪畫浮雕》自1960年代以來,首度在亞洲曝光並現身於藝術市場。

    出生於台灣世家且成長於香港,林壽宇在1952年遷居英國。身處西方世界,林壽宇思考著何種藝術是真正屬於他自己的。1950年代,林壽宇在具像繪畫及抒情抽象的領域裡進行諸多實驗,此時期的作品裡,墨水及濕筆的使用透露出來自中國山水的影響。1958年,林壽宇即將於倫敦綜合工藝學院完成學位之際,ICA當代藝術館為他舉辦了一場聚焦於抽象作品的個展,藝術家的才華旋即受到西方畫廊的關注,並於1959年在金貝爾.斐斯畫廊推出另一場個展。1964年,他受邀參展「第三屆文件展」,成為這場每五年於德國卡塞爾舉辦的當代藝術盛會所展出的第一位英籍台裔華人藝術家,本拍品即為藝術家當年獲選展出的三件作品之一。「文件展」無疑是歷史上最重要的當代藝術展,由藝術家暨教師阿諾.博德(Arnold Bode)創立於充滿戰後理想主義氛圍的1955年,旨在復興被納粹政權禁絕的國際現代藝術,企圖帶動全球文化與文明的復甦。1964年,文件展來到第三屆,由阿諾.博德協同維爾納.哈夫特曼(Werner Haftmann)共同策劃並展出353位國際藝術家,是屆展覽聚焦於繪畫、雕塑及平面藝術的傳統類型,強調回歸到物件與藝術家作為獨立個體的初衷。哈夫特曼在展覽畫冊中寫道:此展「與論述及群體不再有任何關係,而是以『藝術即為重要藝術家的作品』這樣一個簡單的原則作為基礎,專注於獨立的人格特質。這一百天之間,一座當代藝術的博物館模型被建立了。這座當代藝術博物館應當是相遇之所,在能夠展現每件作品各自的豐富性及意義的環境之中呈現它們。」本拍品當時與法蘭西斯.培根(Francis Bacon)、尚.杜布菲 (Jean Dubuffet)、山姆.法蘭西斯 (Sam Francis)、賈斯培.瓊斯 (Jasper Johns)、艾爾斯沃茲.凱利 (Ellsworth Kelly)、李.龐帝克 (Lee Bontecou)、皮耶.蒙德里安(Piet Mondrian)以及其他藝術家的作品並陳。受邀於文件展中展出,標示了林壽宇在同時代西方藝壇的重要地位。

    此作品中,林壽宇將幾何形狀融入浮雕裡,以精確計算的角度將壓克力及鋁片安置於白色畫布上。兩個長方形鋁片貼合一個黑色壓克力正方形的左側放置,完成一個以直線組成的構圖。獨立而完整,這些幾何造形並沒有延伸至畫布邊緣,突顯了藝術家面對「極簡主義」所採取的數學式精準以及內省性態度,這即是林壽宇藝術實踐的核心。如此格子式的構圖,其水平與垂直的單一性,以及肌理的均質化,近似於蒙德里安的幾何抽象。林壽宇與蒙德里安皆試圖透過最純粹的手法達到和諧,經由平衡的鋪陳而達到物質與精神世界的融合。蒙德里安藉由切割色域以強調空間感,林壽宇則是使用各種黑與白形塑出深具迷人風采的單色調構圖,本次上拍作品正是經典之作。

    我們的目光被引導至畫布中央具反射性的黑色方形,它在不同的光線之下呈現前進或退縮的意像。細細觀賞,會看到黑色方形下緣露出一線白色畫布。方形作為一個主題可以追溯至卡濟米爾.馬列維奇(Kazimir Malevich)的「絕對主義」以及他的代表性作品《黑方塊》。繪於1915年,《黑方塊》以簡潔的幾何形式革新了俄羅斯前衛藝術的發展。《1.3.1964 – 繪畫浮雕》使人聯想到馬列維奇的極簡構圖手法,具有一種彷若冥想般的清朗平靜與吸引力,無疑呼應到兩位藝術家皆深受影響的宇宙有序觀與能量本質概念。馬列維奇將其《黑方塊》描述為他在藝術中孕釀的「全蝕」:「一個哲學性的色彩系統,實現了我關於認知概念的新成就。」類似地,蝕的概念是林壽宇創作的核心,展現在他作為藝術家的第一件專業作品:蝕刻版畫《巴約大教堂》,以及1950年代的「日月」系列。林壽宇關於「蝕」的宇宙觀根植於他對老莊學說的哲學思考,以及成長階段在東方的養成。林壽宇從無拘無束且能量不息的大自然中擷取靈感,他曾於訪談中表示:「創作它自己會走到那裡,它自己會找到自己的方向,我不能逼它,自然地兩個正方形會出現。」

    作為林壽宇成熟之作以及世界藝術史脈絡裡的重要作品,《1.3.1964 – 繪畫浮雕》一作透過其低調的色彩與幾何且和諧的構圖,構築一方蘊藏著無華魅力的寧靜之處,成就林壽宇堅定追求簡潔的經典之作。
Contacts
Richard Lin (British, 1933-2011), (Lin Show-Yu)  林壽宇 1.3.1964 - Painting Relief  1964
Richard Lin (British, 1933-2011), (Lin Show-Yu)  林壽宇 1.3.1964 - Painting Relief  1964
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