Beschreibung:

Yuichi Inoue (Japanese, 1916-1985), 井上有一 No (Whereupon) 1969 signed with one artist seal ink on paper 117.4 x 165.5 cm (46 1/4 x 65 3/16 in) This work was executed in 1969. Fußnoten Provenance Private Collection, Japan Acquired directly from the above by the present owner circa 2008 Literature YU-ICHI, Catalogue Raisonné 1949-1969, Vol.1, Tokyo 1998, no. 69042, p. 554-555, illustrated in color Yu-ichi's Calligraphy, Art Museum of Guangzhou Academy of Fine Arts, Guangzhou 2011, p. 54, illustrated in color Yuichi Inoue, The Sun, Vol.235, Tokyo 2015, p.44, illustrated in color A Retrospective: Yu-ichi Inoue 1955-1985, Kanazawa 2016, CR 69042, p.137, illustrated in color 井上有一 乃 水墨紙本 1969年作 藝術家鈐印一方 來源 日本私人收藏 現藏家在約2008年直接購自上述收藏 出版 《井上有一 全書業 1949-1969》，第一卷 ，東京1998年 ，編號69042 ，第554-555頁，彩圖 《井上有一 書法》，廣州美術學院美術館 ，廣州2011年 ，第54頁 ，彩圖 《井上有一》，別冊太陽 ，第235卷 ，東京2015年 ，第44頁 ，彩圖 《井上有一 1955-1985》，金澤市2016年 ，編號CR 69042 ，第137頁 ，彩圖 "Large single-character works can be seen by the contemporary eye as a rediscovery of the art of calligraphy. The gestural, ideological and structural nature of kanji are emphasized to the fullest when a single character stands alone." (Yuichi Inoue in: Shinpen Hibino zeppitsu, Masaomi Unagami, Geijutsu Shinbunsha, Tokyo 1989, p. 55) Representative of his most acclaimed single kanji character compositions, No (Whereupon) comes from a period of his works in the late 1960s, characterized by a move toward broader formal experimentations of intensely focusing on single characters. Distinctly different from his chaotic compositions in the 1950s, which were a response to the trauma of post-war Japan, his single character works in the 1960s consist of rhythmic and clear expressions of gestural abstract brushstrokes. From 1969 to 1973, Yuichi continuously painted the characters No ( 乃) and Love ( 愛) over and over again, eventually destroying the works that were "inferior," and leaving only the finest creations behind. The title No ( 乃 ) came from the name of a lover, one that remained dear to the artist's heart throughout his life time. In the present work, the intensity of scattered dots and splashes of ink along the single character are powerful and reminiscent of the artist's memories and inspiration. A pioneer of Japanese abstraction, Yuichi has often been discussed with the likes of Jackson Pollock in the incorporation of the physical self while painting, as well as the gestural abstraction of Franz Kline and Robert Motherwell Yuichi gained international recognition early on in his career, participating in Kunsthalle Basel in 1956, São Paulo Biennial in 1957 and 1961, documenta II in 1959 and Carnegie International in 1961. Combining force and full body movements, Yuichi uses ink mixed with glue on Japanese paper to create unique textured effects in each of his compositions. In light and dark washes, the present work highlights distinctive variations of ink in one single character, serving as one of the pinnacles of Yuichi's inventive and unique oeuvre. 「大尺幅一字書在當代被視為書法藝術的再發現。當一個字獨立存在，最能突顯漢字本質上的姿態、哲思以及結構。」（井上有一於Shinpen Hibino zeppitsu，海上雅臣撰，芸術新聞社，東京1989，頁55） 創作於1960年代晚期，《乃》一作呈現井上有一最受推崇的一字書結構，展現藝術家全神貫注於單一文字、極為大膽的形式實驗。相較於藝術家在1950年代回應日本戰後創傷的作品所呈現的混亂結構，1960年代的一字書深具韻律且展現出明晰的表情姿態，抽象的筆觸裡蘊含詩意。1969至1973年之間，井上有一持續以「乃」與「愛」兩個字創作，在過程中藝術家銷毀了許多「次等」的作品，只留下最好的精彩之作。作品名稱「乃」字取自藝術家內心愛慕一生的女子的名字。這件作品裡，散落紙上的細小墨點與潑痕讓我們感受到溫柔的愛戀，而深刻的情感伴隨整個字縈繞不去。 身為日本抽象藝術的先鋒，論者經常將井上有一與傑克森．波洛克（Jackson Pollock）將自身軀體融入創作的方式相提並論，亦比較他與法蘭茲．克萊因（Franz Kline）、羅伯．馬瑟韋爾（Robert Motherwell）所代表的姿態抽象 （gestural abstraction）。井上有一在創作早期即獲得國際肯定，曾參展1956年巴塞爾藝術博物館的展覽、1957年與1961年的聖保羅雙年展、1959年的第二屆卡塞爾文件展、以及1961年的卡內基國際藝術展。結合力量與全身動作，井上有一將墨水與膠混合，書寫於和紙之上，為他的每件作品創造獨一無二的肌理。墨色濃淡相輔，加以細點與潑濺，本拍品在單一個字的書寫裡展現了墨的多重表現，是藝術家為傳統書法開創新局並顛覆定義的高峰之作。