| 中文版 English

具体要求

全部
侧面
背面
底部
内部
局部细节
款识
破损处

其它要求

提交申请
关闭
朱德群 1920 – 2014 構圖第461號 Chu Teh-Chun Composition No. 461
香港 北京时间
2023年04月06日 开拍
拍品描述
油彩 紙本裱於畫布
一九七二年作
款識 真誠地為我親愛的朋友艾達 朱德群Chu Teh-Chun 72 461(右下)
來源 法蘭西斯.伯特第二任妻子艾達.伯特直接獲贈自藝術家本人 2006年11月16日,倫敦佳士得秋季拍賣會,拍品編號196 2011年11月28日,香港羅芙奧春季拍賣會,拍品編號31 現亞洲重要私人藏家直接購自上述來源 註:法蘭西斯.伯特為「不定形藝術」、「新巴黎畫派」之代表,他與太太艾達為朱德群多年好友 玄色蒼茫,還看山青花欲燃 朱德群70年代的藝術之光 「我畫的是我內心的光,也就是我的靈魂之光!」 ——朱德群 在二戰後風起雲湧的1940至50年代,「不定形藝術」迅速崛起於巴黎,並漫延至整個歐洲,以破除立體主義的幾何形式語言,改以抒情性的抽象風格表達自由創作為其宗旨,另闢蹊徑地創造出不同於美國抽象形式的新繪畫語言。而在這場轟轟烈烈的藝術運動中心,是一批旅居巴黎的外國藝術家,如德國的哈同(Hans Hartong)、加拿大的里奧佩爾(Jean-Paul Riopelle)催生了「新巴黎畫派」的發展,此亦深深影響了於1956年抵法的朱德群。 隨著1956年觀摩「不定形藝術」代表斯塔埃爾(Nicolas de Stael)的回顧展,受其奔放形式的強烈啟迪,朱德群遂全面展開自我於抽象領域的試煉。2年後,他帶著一批創作成果,接連拜訪多家巴黎畫廊以毛遂自薦,獲得勒讓特畫廊(Galerie Legendre)藝術主任帕尼耶(Maurice Panier)高度賞識,與畫廊簽訂長達6年的代理約。其間畫廊不僅為其舉辦3次個展,更多次邀請他參加在匹茲堡卡內基美術館、雅典和耶路撒冷的群展。與此同時,朱德群和該畫廊代理的藝術家、「不定形藝術」的代表:伯特(Francis Bott)、龍戈巴迪(Xavier Longobardi)等人結為好友,在彼此的探討交流中,促成朱德群步入抽象藝術的高峰。 是次上拍、完成於1971年的《構圖第461號》誕生於朱德群抽象美學邁向成熟巔峰的70年代初。為其從巴黎「不定形藝術」的影響中走出,在70年代以交融東方書法和西方「光源」之要素,建立個人光燦鳴放、提煉自然為想象源泉的藝術飛躍節點。作品右下側並題有:「真誠地為我親愛的朋友艾達」,為其贈予好友的用心之作,受款人為「新巴黎畫派」代表藝術家伯特的第二任太太艾達(Aida Butt)。作品從側面反映了朱德群與伯特及其夫人自1956年起長達15年的深厚友誼,以此贈送留念,銘記情誼之篤厚,作品殊難可貴。 光影之極:綠肥紅瘦的妙造 相較於畫布上的大尺幅揮灑,在不同媒介上的油彩試煉更顯示出朱德群小中見大的張力和靈思,《構圖第461號》集中以極致的明暗對比與色彩為光源的鮮明層次,展現其融會西方古典與現代形式的新風,當中流暢的書法筆力亦渲染著東方藝術的雅韻和精神的力量。 在畫作中,他以大片的玄黑墨彩為背景主調,於混沌中放出光明之色,塑造鮮明的視覺張力。此一經典的表現形式,與朱德群在1969年阿姆斯特丹之旅中,參觀倫勃朗三百週年誕辰大展的影響密不可分。「倫勃朗畫中的光使他的畫更顯深刻、雄渾與結實……我從1970年以後,對自己的畫最為注重的就是,一定要向深刻的地方走。」朱德群將深邃的低限黑彩,視為畫中一切精彩的孕育之地,將倫勃朗聚光照射、充滿舞台感的「明暗對照法」(chiaroscuro),巧妙化入其中,以此建立其70年代深化、拓展「不定式藝術」再下一城的美學標誌。 在這墨色的畫境中,一道溫暖熱烈的紅彩自左引入,如同暗夜中怒放的玫瑰,茫茫宇宙中閃耀的紅彩流星,在霎那間迸發出強烈的光與色,啟引無限感知。而這單純而熱烈的紅,與右側濃淡有致、聚散有度的青綠、寶藍、靛青、銘黃、鵝黃色彩,形成鮮明的衝突,在「綠肥紅瘦」的一暖一冷間,在絢彩和幽冥間,呈現色彩與時空的戲劇性節奏。而這片如熾焰般的虹彩光華亦化作點點色斑,滲入、躍動在右側的青綠山巒之中,令左側的晨光乍現、右側的瞬息萬變,在平衡的錯落間創造出無比生動、和諧的形式之美。 墨線起舞:色與力的浩然交響 「光斑和白熱的點簇吸引目光,將威脅人的黑暗驅散,混濁的空氣讓遠景窒息,而喧鬧的色彩鋪展在新的天地,在不斷變化的世界中,節奏相互碰撞。在表面的抽象後,宇宙就存在這裡。」 ——法國藝評家卡巴納(Pierre Cabanne) 此外,朱德群並以源自東方草書的筆墨心得,作為其舒展抽象造型、塑造「光源」的核心表現力。在畫面的中心可見或迅疾如風、或凝滯如岩、或垂掛如瀑、或流動如泉的線條,帶著朱德群特出的「書寫性」韻致,塑造出山水般的起伏綿延。作為畫中光源的三處基點,濃烈的朱紅和清雅的薄荷綠,一併深入那酣暢淋漓的墨色勁筆,與之共舞著色之旋律。自縱橫俯仰的色形抽象中,如宇宙星河的震波般,一重接一重地將這股自然的洪荒之力,在聚散間推向更為遙遠的星際。而畫作背景並非全然的寂黑,而是由「墨分五色」的書畫概念,以不同明度、體積的黑彩,造就墨筆與墨色的千變萬化,令彩與墨、紛繁與純然在衝突與融合中,創造著虛與實、滿與空、色與力的生命交響。 在「日出江花紅勝火,春來江水綠如藍」的畫境中,朱德群展現其縱橫光影的詩意空間,實現他對「內心靈光」的美學表露。在這出人意表的玄黑天地中,他更為畫作注入了來自東方書法和繪畫的靈韻和遐思,為他贈予的藝術家好友的妻子帶去新知,在友情的銘記和藝術的交流中,呈現其70年代藝術豐碑的浩然新象!
Oil on paper mounted on canvas
50.5 × 65 cm. 19 7/8 × 25 5/8 in.
Painted in 1972
Inscribed in French, signed in Chinese and English, dated and numbered on bottom right
PROVENANCE Received as a gift from the artist by Aida Bott, Francis Bott's second wife 16 Nov 2006, Christie's London Autumn Auctions, Lot 196 28 Nov 2011, Ravenel Hong Kong Spring Auctions, Lot 31 Acquired directly by present important private Asian collector from the above Note: Francis Bott is a representative of Art Informel and The New School of Paris. He and his wife Aida are keen friends of Chu Teh-Chun. Within the Dark Universe, Sees the Mighty Blossom Chu-Teh Chun's Artistic Glory in the 1970s The rise, unity and celebration of the influential art movement, Art Informel disrupted the lineage of tradition, and fully embraced the dramatic, chaotic and gestures of expression and abstraction. Alike many artists that were allured by the group and its movements by 1956, French-Chinese artist Chu-Teh Chun was particularly captivated by the retrospective exhibition of Nicolas de Stael, and started his training and exploration journey into abstraction. Upon 2 years into his journey, Chu brought a handful of his works to several Paris galleries, introducing paintings to gallerists. It wasn't until the introduction at Galerie Legendre, in which gallerist Maurice Panier highly recognized Chu's talents, and offered a 6-year representation contract. While representation was established, Chu continued to expand his knowledge and friendship with other Art Informel representatives, such as Francis Bott and Xavier Longobardi. It was these important and insightful conversation that enlightened Chu to reach his pinnacle artistic years to come. Composition No. 461 was completed in 1971, and noticeably marked a transition from the influence of Art Informel. The brushwork encapsulates signature of Chinese calligraphy, while the light tones depicts imagery of light, a Western-focused symbol. Combining elements from two polar cultures, the painting conveys Chu's establishment on who he is as an artist; a Chinese artist by biology, but also a French artist by cultural acceptance. On the right bottom corner, Chu notes: “Pour ma chère amie Aida amicalement,” an endearing statement for his dear friend, Bott's second wife, Aida Butt. Written in French, this speaks highly of his 15-year friendship with Francis Bott and Aida Butt. As a memory token, the complexity of the work signifies an enriched European influence, ranging from people, conversations, and culture, as well as Chu's transition to return to his Chinese roots. The Complementary of Red and Green; the Play of Light and Shadow In Composition No. 461, Chu fills the background with swaths of ink-black, allowing the background to nurture the synergy and dynamisms of light and shadow, much like the dramatic effect seen in chiaroscuro. In comparing the iconoclasm and nature of the Art Informel, this certainly renders the signature of Art Informel artists, and displays the influence of Chu's trip to Amsterdam in 1969, as he was mesmerized by Rembrandt's 300th tercentenary exhibition in London. With Chu's prolific works, Composition No. 461 represents the Art Informel, and evolved the notion of aestheticism. Within the sea of black, a brush of vibrant red enters from top left. On the right, colours of light turquoise, ruby-blue, ocher yellow and goose yellow forms around the centre. Reading from distance, the colours infer a charge of sudden movement in time and space, all racing one another. Meanwhile, spots of red appear within the cluster by the left, amongst the turquoise in pleasantry. As an entirety, Composition conveys balance and harmony in spite of ongoing foreground conflicts. When Black Dances to the Tune of Colour and Power In Composition No. 461, our vision immediately gazes towards the light, as the centre presents a cluster of happenings. In abstract brushwork, Chu manages to portray many sceneries in one. The lines are as swift as the wind, some as stagnant as rocks, others are horizontal like a waterfall, or a flowing waterfall. All of which strongly identifies Chu's calligraphic rhythm and demonstrates the undulations of landscapes. Across the painting emits three powerful light source – Two radiates from the intense vermilion red and elegant mint green. The third runs deeper into the strokes of black-ink, which rhythmically follows the melody of the colour. Upon closer look, background of black is not entirely black. Rather, its shading of black originates from the painting concept of “ink in five colours”. With variations of brightness and volume of black, each stroke presents thousands of variations, which highlights the complexity, purity of ink and colour. The nature of ink demonstrates the idea of conflict and fusion, and creates a symphony of life between emptiness and reality, as well as colour and power.

本场其它拍品

  • Lot 31
  • Lot 32
  • Lot 33
  • Lot 34
  • Lot 35
  • Lot 36
  • Lot 37
  • Lot 38
  • Lot 39
  • Lot 40
  • 竞价阶梯
  • 快递物流
  • 拍卖规则
  • 支付方式
竞价区间 加价幅度
0
1,000
10,000
2,000 5,000 8,000
100,000
10,000
200,000
20,000 50,000 80,000
1,000,000
100,000
2,000,000
200,000 500,000 800,000
10,000,000
1,000,000
+

价格信息

拍品估价:900,000 - 1,500,000 港币 起拍价格:900,000 港币  买家佣金:
落槌价 佣金比率
0 - 5,000,000 20.00%
5,000,000 - 20,000,000 17.00%
20,000,000 - 以上 14.00%
服务费:本专场服务费按成交价(含佣金)的1.5%收取,最低200元

拍卖公司

中国嘉德(香港)国际拍卖有限公司
地址: 中国香港金鐘道89號力寶中心一座五樓
电话: 852-28152269
邮编: 10000
向卖家提问
品相报告书

点击“我已知晓”即代表本人已仔细阅读并知晓本《品相报告》
我已知晓