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藤田嗣治 1886-1968 琪琪肖像 Léonard Tsuguharu Foujita Portrait de Kiki
香港 北京时间
2023年04月06日 开拍
拍品描述
油彩 畫布
一九二五年作
款識 嗣治 Foujita 1925 (右中) 出版 1987年,《藤田嗣治全集第一冊》,Sylvie及Dominique Buisson編,ACR出版社,巴黎,第384頁,圖版26.40 2001年,《藤田嗣治全集第二冊》,Sylvie及Dominique Buisson編,ACR出版社,巴黎,第226頁,圖版26.135
展覽 1972年6月5日至16日,「現代法國繪畫的傑作」,孫元山畫廊,東京 來源 私人收藏 2010年6月23日,倫敦蘇富比印象派及近代藝術日間拍賣,拍品編號362 前私人藏家直接購自上述來源 亞洲重要私人收藏 附:Sylvie Buisson開立之作品保證書 流動盛宴中的繆斯琪琪 藤田嗣治 黃金年代經典現身 「藤田嗣治向歐洲投射出遠東的新光線,將日本繪畫傳統作為照耀歐洲繪畫傳統改革的光芒。」 ——法國藝術史學者多利瓦爾(Bernard?Dorival) 自十九世紀末以降,日本畫壇以「日本畫」和「西洋畫」兩脈為主導。而在其中,藤田嗣治異軍突起,他以日本傳統乍寂、極簡美學為本參與歐洲現代繪畫運動,將日本畫中纖細的線描和潤滑如瓷漆器的平面性與西洋油畫的寫實技法結合得天衣無縫,開創出前所未見、獨出一幟的個人新風,在徹底打破「日本畫」和「西洋畫」界線的同時,更對歐洲繪畫傳統的革新創生積極影響,成為連結東西方美術發展的重要橋樑,使其一躍成為明治維新後,最具國際影響力的日本畫家。 巴黎的寵兒:黃金年代 1905年,出身東京名門、自幼接受良好教育的藤田嗣治進入東京美術學校西洋畫科,師從留法先驅暨外光派大師黑田清輝,獲西方現代藝術思潮的薰陶,並開啟他對藝術之都巴黎的無限憧憬。1913年,27歲的藤田前往巴黎,以嬉皮的性格迅速打入核心社交圈,與來自荷蘭的凡.東根(Kees?van?Dongen)、義大利的莫迪里亞尼(Amedeo?Modigliani)結為好友,成為「巴黎畫派」的重要一員。身處異鄉的他勤奮地通過自身對西方經典的不斷學習、鑽研,並把自日本傳統浮世繪的啟發加以融會貫通,獨創、打造出溫潤若白瓷的標誌性敷彩及以纖細墨線描繪客體,營造如夢似幻的畫面氛圍。在1920年的秋季沙龍上,藤田作品中膚若凝脂的裸女驚豔了整個巴黎,其畫中高妙被譽為「絕妙的乳白」,自此成為「巴黎的寵兒」,其後個展發表無數,名震東西。 是次呈現完成於1925年的《琪琪肖像》,正是藤田蜚聲巴黎、個人藝術魅力全面綻放的經典之作,除呈現了他的標誌語彙,更一展其與法國藝壇傳奇繆思一段真摯的友誼,將上世紀20年代巴黎的浮光掠影、浮生若夢凝結於此。 珍罕「金髮」琪琪之作 該作中的女子為巴黎畫派一眾藝術家最炙手可熱的模特兒一一有著「蒙帕納斯女王」之稱,身兼歌手、舞者、模特兒、演員的琪琪(Kiki)。琪琪原名普林(Alice Prin),不僅美貌出眾,活潑又豪爽的性格更使其顛倒眾生,成為許多著名藝術家如常玉、蘇丁(Cha?m Soutine)及曼雷(Man Ray)的好友暨繆思女神。藤田與其結為至交,在1922至1926年的五年間曾多次以其入畫,目前市場可考藤田以其為主角的油畫作品僅只五件,最早可追溯使其名震巴黎畫壇的《裸臥的琪琪》。而是次的《琪琪肖像》則是五件作品中,唯一的「金髮」琪琪之作。 琪琪的天然髮色為深咖啡色,故在許多藝術家為其創作的肖像中,無論凡?東根、莫迪利亞尼或是奇斯林(Mo?se Kisling)筆下,畫中人均以深咖啡色的短髮示人。就連藤田嗣治創作的其餘四件琪琪畫像中,主角亦為深髮色。然而,在巴黎畫派成員、匈牙利攝影師布拉塞(Brassa?)1976年所著的回憶錄《30年代的秘密巴黎》中,明確指出「琪琪興致好時會戴上假髮,並也會用炭筆畫上兩筆。」故是次呈現的《琪琪肖像》如若繆思戴上金色假髮、展現別樣風情的特出作品。有別於其他藝術家創作中琪琪的性感外放,在其筆下,女主角僅以一對碧眼凝視著觀者,流露出強烈的知性氣息。自白色上衣中露出的頸部肌膚,猶如東瀛女子著「和服」若隱若現。畫中人若回歸一個全然放鬆的姿態,她將雙手倚在木質的椅背上,頭部前傾,雙唇微閉,似欲語還休般傾訴斯人心事,通過人物表情勾勒一出生動而親密的絮語,藝術家及被繪者之間深厚的友誼及信任沁透於作品之上。 而有趣的是,目前市場可考的另外一件「金髮」琪琪,則為琪琪本人所繪,完成於1930年具自畫像性質的《黃色的木屐舞鞋》。畫面中,身為模特兒的她即以眾人不熟悉的金色短髮現身,可見她對此如若「另一個我」的造型之鍾愛,更令藤田所繪的《琪琪肖像》別具意義,展現畫中人一種對於真我、本我及他我的思考。 以東方之美驚艷世界 在《琪琪肖像》中,畫中人展示藝術家最為人所道的「乳白色肌膚」——以如陶瓷般乳白色肌膚體現東方古典美女對於肌如白雪的嚮往。藤田將亞麻籽油、白堊、牡蠣殼磨成粉以鉛白及滑石粉調和,創造出一種全新的純白釉彩,展現畫中人溫潤如玉、凝脂般的肌膚質感,彷彿被光暈罩染,散發溫婉的情韻。而主人公伏在椅背上的雙手佔據畫面中心,此在藤田早期的肖像畫中極為少見,藉此以突出人的份量感,其纖長的雙手慵懶的交叉擺放,弓起的手背與雪白的雙臂烘托伊人的優雅之姿,呼應《詩經》中形容「手如柔荑,膚如凝脂」般的美態,含蓄而動人。而藝術家以極細的墨黑線條勾勒其形,微微暈染的炭筆構築衣衫、皮膚上的陰影,令畫中的琪琪既令人魂牽夢縈,又似封存的記憶之塵,娓娓道來舊時的回憶。 《琪琪肖像》作為藤田巴黎黃金時期的經典創作,飽含其傾情的專注及對友人的敬意。更自此揭開其輝煌藝途的序幕,一個屬於藤田嗣治的時代,帷幕正緩緩拉開。
Oil on canvas
32.8 × 23.8 cm. 12 7/8 × 9 3/8 in.
Painted in 1925
Signed in Japanese and French and dated on middle right LITERATURE 1987, Léonard-Tsuguharu Foujita Vol.1, Sylvie & Dominique Buisson, ACR Edition, Paris, p.384, pl.26.40 2001, Léonard-Tsuguharu Foujita Vol.2, Sylvie & Dominique Buisson, ACR Edition, Paris, p.226, pl.26.135
EXHIBITED 5 - 16 Jun 1972, Chefs-d’oeuvre de la peinture moderne fran?aise, Galerie Sun Motoyama, Tokyo PROVENANCE Private Collection 23 Jun 2010, Sotheby’s London Impressionist & Modern Art Day Sale, Lot 362 Acquired directly by previous private collector from the above Important Private Collection, Asia This work is accompanied by a certificate of authenticity issued by Sylvie Buisson A Moveable Feast and the Muse Kiki A Classic Work from the Golden Years of Léonard Tsuguharu Foujita “Léonard Tsuguharu Foujita projected a new light from the Far East towards Europe, using the Japanese painting tradition to illuminate the radiance of reforms to the European painting tradition.” ——French art historian Bernard?Dorival Darling of Paris: Golden Years Léonard Tsuguharu Foujita was born in 1905, scion to a rich and famous family and after receiving a good education as a young boy later studied in the Western Painting Department at Art at Tokyo Fine Arts School. In 1913, at the age of 27, Foujita traveled to Paris and with his hippy-type character quickly joined important social circles where he made friends with Kees?van?Dongen from Holland and Amedeo?Modigliani from Italy, the three men becoming important members of the School of Paris. Living in a foreign country, Foujita combined his study and research of Western classics with the inspiration he took from traditional Japanese Ukiyo-e painting, to create an almost dreamlike atmosphere in his paintings which were comprised of white porcelain like iconic coloring and objects depicted using fine ink lines. At an autumn salon in 1920, Foujita’s painting of a creamy skin female nude caused a stir in Paris. The mastery displayed in the work was dubbed “exquisite creamy white” and thereafter the artist became known as the “darling of Paris,” holding countless solo exhibitions as his fame grew in the East and West. The work being auctioned on this occasion is Portrait de Kiki completed by the artist in 1925, a classic piece painted when Foujita was at the height of his fame in Paris and his artistic appeal at its zenith. The work not only showcases the artist’s iconic vocabulary but also the sincere friendship he forged with a legendary muse of the French art world. A Rare “Blonde” Kiki Work The woman in the work is Kiki, a singer, dancer and actress who was one of the most popular models with artists from the School of Paris and also known as “the Queen of Montparnasse.” Her real name was Alice Prin and she was not only an outstanding beauty but also had a bubbly and forthright character which made her very popular. With these qualities Prin became friends with and a muse to such artists as Sanyu, Cha?m Soutine and Man Ray. In the five years Foujita and Kiki were friends the artist produced several paintings of her from 1922-1926, though there are only five oil paintings by Foujita on the market in which she is confirmed as the model. The earliest of these is Reclining Nude with Toile de Jouy, which made the artist’s reputation in Parisian art circles. Portrait de Kiki is one of those five works and the only one in which the model is blonde. Kiki’s natural hair colour was dark brown, which is how it appears in the many portraits in which she appears by other painters, whether it is Kees Van Dongen, Amedeo Modigliani or Mo?se Kisling. Even in the other four portraits by Foujita her hair is dark and short. However, the photographic memoir The?Secret Paris of the ?30s by School of Paris member Brassa? published in 1976 notes: “When she was in high spirits Kiki would wear a wig and paint a few strokes with a charcoal crayon.” As such, the work for auction Portrait de Kiki in which the muse wears a blonde wig is a particularly special work with a different style. In contrast to the sexy appearance of Kiki in the works of other artists, in this painting by Foujita her green eyes are imbued with a strong intelligence and gaze back at the viewer,. The skin of the model’s neck revealed from her white top is reminiscent of a Japanese woman wearing a kimono. Through Kiki’s facial expression, the artist depicts a scene that is vivid and intimate, while the work exudes the deep friendship and trust that exists between the painter and his subject. The only other confirmed work in which Kiki has blonde hair is Yellow Dancing Clogs, which completed in 1930 was painted by the model herself and displays self-portrait features. In the painting, Kiki appears with short blond hair with which most were unfamiliar, an indication of her fondness for this “alternative” style. Amazing the World with Eastern Beauty In Portrait de Kiki the figure in the painting showcases the “milky white skin” for which Foujita is best known. This porcelain-like expression highlights the desired for snow white skin shared by classical Eastern beauties. Foujita uses flaxseed oil, chalk and oyster shell powder mixed with white lead and talcum powder, to create a brand new pure white glaze, that showcases the smooth-as-jade and creamy texture of skin as if covered by a halo. The arms of the model are thrown over the back of a chair and take up the center of the painting, the arched back of her hand and snowy white skin of her arms highlighting her graceful posture. Foujita uses extremely fine black ink lines to depict Kiki’s form, with a slightly smudged charcoal crayon used to create shadow on her clothes and skin. As a result, the depiction in the painting fills viewers with a sense of yearning and speaks to us of a time long since past.

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