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拍品专文
In his studio notebook, Vaughan first titled this work Sunbather Seated, before striking it out and replacing it with the title by which it is now known: Seated Figure in Landscape.
The year 1964 marked a richly productive phase in his career, when strong paintings seemed to flow from him with ease. His depictions of the male nude became more openly sensuous, rendered in flickering, gestural brushwork where pigment no longer simply records the surface appearance of skin but evokes its palpable, fleshy equivalent. This handling reflects his growing confidence in the expressive potential of paint itself. At the same time, his palette grew warmer and more charged: vivid oranges, reds and pinks lend the figure a heightened intensity. In works such as Seated Figure in Landscape, form and colour combine to amplify both the physicality and the emotional presence of the male nude.
We are very grateful to Gerard Hastings for preparing this catalogue entry.
The year 1964 marked a richly productive phase in his career, when strong paintings seemed to flow from him with ease. His depictions of the male nude became more openly sensuous, rendered in flickering, gestural brushwork where pigment no longer simply records the surface appearance of skin but evokes its palpable, fleshy equivalent. This handling reflects his growing confidence in the expressive potential of paint itself. At the same time, his palette grew warmer and more charged: vivid oranges, reds and pinks lend the figure a heightened intensity. In works such as Seated Figure in Landscape, form and colour combine to amplify both the physicality and the emotional presence of the male nude.
We are very grateful to Gerard Hastings for preparing this catalogue entry.