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歐陽春 b. 1974 無題(三聯作) Ouyang Chun Untitled(Triptych)
香港 北京时间
2023年04月06日 开拍
拍品描述
油彩 畫布
二〇〇六年作
款識 A:歐陽春 2005 三聯畫1(畫背) B:歐陽春 2005 三聯畫2(畫背) C:歐陽春 2005 三聯畫3(畫背)
來源 現亞洲私人藏家直接購自藝術家本人 豐盈真誠的人生戲曲 歐陽春罕見三聯作登場 「我發現富足和貧窮一樣,都能折磨一個藝術家,原來做藝術如同放逐。茫然中,有時候我想到『獅子、駱駝與孩童』。如果說藝術家的人生像碎片,但願我最終拼湊出的圖畫是『孩童』。」 ——歐陽春 作為最受關注的70後藝術家之一,歐陽春1994年畢業於西安美術學院美術教育系,現於北京從事創作。儘管他歷經紮實的學院派訓練,其自身的天賦、大膽不羈的性格和對生活敏銳的感受力讓他走上了一條截然不同的「叛逆」道路。他從當代中國社會中的矛盾以及自身細膩的生活體會中尋找靈感,日復一日勤奮創作童心未泯的「本能繪畫」。其作以狂野厚實的油彩融合了一種未經修飾的天真無邪,擺脫了矯揉造作和現實的複雜,以充滿詩意的自由和天馬行空的想象力跳脫了當代繪畫領域的既定傳統、拒絕常人對「美醜」的窠臼定義,轉而採取一種孩童塗鴉般的筆觸,摒棄浮華的偽飾,表達著最為充沛豐盈的真實情緒,直擊人心。他曾受邀於奧地利國家美術館、德國柏林收藏家美術館、北京炎黃美術館舉辦個展。 本能的自我演繹,天馬行空的聯袂 《無題》創作於2006年,彼時歐陽春在北京星空間舉辦了第二次也是其早年最為重要的個展「璀璨」,此時他的風格走向成熟、一鳴驚人,打響於中國當代藝術界的名氣。此作為其極為罕見的三聯作,像是一套連環畫,充滿引人入勝的故事感。三幅作品均採高飽和度的湖藍、翠綠、檸檬黃、土黃等原色揮灑天地,如同一條一條美妙的彩帶,而每幅畫的中心都有一位歐陽春筆下經典的主人公:拙趣的橢圓大頭,大耳朵和塗鴉般幾筆塑造的短髮,衣著簡樸,似乎能從中看到畫家本人的影子。他生活在藝術創造的天地,這裡遠離現實世界的虛偽、壓抑、莊重,允許自由甚至狂野地表達最為真實的情緒。 在三聯作的第一幅畫中,男孩站在土地上憑空出現的洞穴前,驚訝地張大嘴、睜大眼睛、雙手叉腰,驚異於眼前所見的未知,漆黑的洞穴深不見底,令人聯想到愛麗絲夢遊仙境中的兔子洞,充滿神秘感,如同不可知的未來。而中央的第二幅畫洋溢著春天的氣息,暖黃的天空之下青草郁郁,男孩在河流中踏波而行,手中拉著風箏笑容滿面,腳下見藝術家以幾條白色的極簡波浪線條展現足尖掠過水面激起的水紋,展現童年純真、幻想中無所不能的自我,可在河面如武林大俠般凌波微步,令人會心一笑。最後一幅畫,展現男孩哭泣的情景,在當今社會中,「哭」在現實中被認為是一種缺乏男子氣概的現象,但藝術家在此刻意誇張此情緒表達,讓主人公在一輪黃色艷陽下放聲大哭,以厚塗的白色色點塑造出眼淚若水柱從眼睛噴射而出,淚如泉湧,在空曠無聲的原野中,他是一個自由的個體,唯有身後的青色草屋默默守護著,在此,他不必在意任何人的眼光去釋放自我。作品呼籲人性的解放,認為表達真實的情感無需羞愧。三聯作言說著對人生未知的好奇和驚異,勇於奔馳,跌倒了也敢於哭泣的率性天真。 時下歐陽春之作在一級市場上往往一作難求,當被問及此事,他直言「用自己的生命體驗來實踐藝術家的道路,這才是最有價值的。除此之外,一切其它的算計、聰明、機謀,在時間面前,都是無效的。」其作似野蠻生長的春藤,讓人感受無盡的生命氣息破土而出,在他創造的藝術帝國交織成一片燦爛的光景。
Oil on canvas
60 × 60 cm. × 3 23 5/8 × 23 5/8 in. × 3
Painted in 2006
Signed and titled in Chinese, dated and numbered on the reverse of each piece
PROVENANCE Acquired directly by present private Asian collector from the artist Affluent and Sincere Drama of Life Ouyang Chun's Rare Tripytch on Stage “I recognize that affluence will afflict an artist just the same as poverty in that making art is like a journey of exile. When I sank into bewilderment, sometimes I may think of ‘the lion, camel and children'. If we compare the life of an artist as fragments, I hope the picture I finally put together is ‘children'.'” ——Ouyang Chun As one of the most noticed artists born in the 1970s, Ouyang Chun graduated from the art education department of Xi'an Academy of Fine Arts in 1994. Despite his solid academic training experience, his inherent talent, his bold and unruly personality, and his sensitive perception of life set him on a completely different path of “rebellion”. Collecting inspiration from the social conflicts in contemporary China and his personal life experience, Ouyang continuously endeavours to create “instinctive paintings” with childlike spirits. Combining the wild and thick oil paints with an unadorned innocence, his works shed the sense of pretension or sophistication of reality, replacing the conventional definition of “beauty or ugliness” with the most affluent and generous real sentiments delivered by the childlike graffiti. He has been invited to hold solo exhibitions at the Austrian National Gallery, me Collectors Room Berlin and the Yanhuang Art Museum in Beijing. Instinctive Self-Deduction Combined with Widest Imagination Untitled (Triptych) was completed in 2006 when Ouyang Chun held his second and the most significant solo exhibition in his early career, Luminescent, which marks his mature and striking aesthetic style. As a rarely-seen triptych among his works, the painting appears like a comic strip. The three pieces are equipped with a high-saturated palette including lake blue, emerald green, lemon yellow and earthy wheat, floating like several elegant ribbons. At the centre of each piece is a classical character on Ouyang Chun's canvas with a large oval head, huge ears and scrawling short hair and simple cloth, seeming to suggest the artist himself. The figure is living in such a colourful world far from the hypocrisy, depression and solemnness of the secular world and allowing the deliberate and even wildest expression of the truest emotions. In the first piece of the triptych, a boy stands in front of a hole that appears out of nowhere on the earth, widely opening his mouth and eyes, shocked by the unknown scene from his eyes. The dark and deep hole is reminiscent of the rabbit hole in Alice's Adventures in Wonderland, which is full of mysteries and indicates the unexpected future. In comparison, the second piece at the centre is immersed in an atmosphere of spring. Under the warm yellow sky, the lush grass is growing. The boy is walking across the river with a giant smile and a kite in his hand. The artist uses some minimalist white wavy lines to suggest the wave patterns on the water surface, meaning the omnipotent self in the childhood fantasy that one could walk over the wave like a legendary swordsman. The last painting shows a boy crying. In contemporary society, “crying” is considered a behaviour of lacking masculinity in many people's stereotypes. However, Ouyang exaggerates this expression on purpose with thick-painted white dots dramatically presenting the tears erupting like fountains. In the empty and silent wilderness, he is a free individual releasing himself regardless of others' perceptions. The work calls for the deliberation of humanity and claims that there is no shame in expressing the authentic self. This triptych voices the curiosity and amazement at the unknowns of one's life, and the unruly sincerity of daring to run and to cry once you fall.

本场其它拍品

  • Lot 51
  • Lot 52
  • Lot 53
  • Lot 54
  • Lot 55
  • Lot 56
  • Lot 57
  • Lot 58
  • Lot 59
  • Lot 60
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价格信息

拍品估价:120,000 - 220,000 港币 起拍价格:120,000 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

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