约翰·霍伊兰(John Hoyland)高清作品《他10.11.86》

作品名：他10.11.86

艺术家：约翰·霍伊兰

年代：1986

风格：抽象表现主义

类型：抽象

介质：丙烯,帆布

收藏：泰特英国，伦敦，英国

这是1983年由霍伊兰开始的一系列包含圆形图案的绘画作品中较为阴郁的一个。在1990年1月25日给编译器的一封信中，这位艺术家把这个系列描述为“比我早期的一些作品更加开放，其中表单是通过更渐进的变形发展起来的”。这幅画由薄薄的一层油漆组成，这些油漆被建造成黑暗的地面，画家把黑色的、伸展的、自由绘画的形状放在上面。画布的边缘提供淡紫色、白色、和橙色底漆的证据。在三个角落里，霍兰引入了更厚的圆形图案。这些画在两个或更多色调的红色（右上），（右下）和橙色（左下）。这第三盘几乎被漆黑的黑色漩涡所抵消。在他给编译器的信中，艺术家说“GADAL101.86是在伦敦的查特豪斯广场的工作室里画的。涂装过程包括在几天内将颜料层层叠起，以便每次新的浇注都修改或增强先前的颜色。然后用较重的锤子把形状加起来，然后再重新加工，这样就能找到图形与地面的分辨率。霍兰德写道，他认为自己没有在纸上画过任何相关的小画布或作品，“除了我经常画的小图画，这些图画都是为了大规模地考察可能性。”

Title:Gadal 10.11.86

artist:John Hoyland

Date:1986

Style:Abstract Expressionism

Genre:abstract

Media:acrylic,canvas

Location:Tate Britain, London, UK

This is one of the more sombre of a series of paintings containing circle motifs, begun by Hoyland in 1983. In a letter to the compiler dated 25 January 1990, the artist described this series as ‘more open-ended than some of my earlier work, where the forms were developed through a more gradual metamorphosis’. This painting consists of thinly poured layers of paint, built up to form a dark ground on which the artist has placed a black, sprawling, freely painted shape. The edges of the canvas provide evidence of lilac, white, yellow and orange underpainting. In three of the corners Hoyland has introduced more thickly painted circular forms. These are painted in two or more shades of red (top right), yellow (bottom right) and orange (bottom left). This third disc is almost cancelled by a dark swirl of black over-painting. In his letter to the compiler the artist said that Gadal 10.11.86 was painted in his studio at Charterhouse Square, London. The painting process involved building up the paint in layers over a number of days, so that each new pouring modified or enhanced the preceding colours. The shapes were then added, in a heavier impasto, which was in turn reworked, so that a resolution between figure and ground was found. Hoyland wrote he did not think that he had made any small related canvases or works on paper ‘except for small drawings which I always make to examine possibilities on a large scale’.