拍品专文
Reuven Rubin was captivated by the Israeli landscape as expressed in an article he wrote in the Menorah Journal in 1926: "Here, in Jerusalem and Tel Aviv, in Haifa and Tiberias, I feel myself reborn, here life and nature are mine, the grey clouds of Europe have disappeared, my suffering and the war too are ended".
During the 1930s Rubin executed several series landscapes and according to Alfred Werner he "began to discard his former, highly formalised manner and allowed himself to be more influenced by the changing moods of nature. His use of pigment became more pliant and livelier and his colour schemes more varied and more subtle".
Writing of his exhibition in London in 1930 at Arthur Tooth's gallery, the English art critic R. H. Wilenski said, "Hundreds of artists have painted olive trees but I have rarely seen their silver sheen in the sunlight more convincingly rendered. He makes everything he borrows his own through his real power of orchestrating colour, whether the work be a landscape, flower piece or a composition with figure".
(A. Weiner, Rubin, Tel Aviv, 1958)
During the 1930s Rubin executed several series landscapes and according to Alfred Werner he "began to discard his former, highly formalised manner and allowed himself to be more influenced by the changing moods of nature. His use of pigment became more pliant and livelier and his colour schemes more varied and more subtle".
Writing of his exhibition in London in 1930 at Arthur Tooth's gallery, the English art critic R. H. Wilenski said, "Hundreds of artists have painted olive trees but I have rarely seen their silver sheen in the sunlight more convincingly rendered. He makes everything he borrows his own through his real power of orchestrating colour, whether the work be a landscape, flower piece or a composition with figure".
(A. Weiner, Rubin, Tel Aviv, 1958)