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常玉 1895-1966 斜坐女子 Sanyu Reclining Lady
香港 北京时间
2023年04月06日 开拍
拍品描述
墨 紙本
一九二〇至一九三〇年代作
出版 2014年,《常玉素描與水彩全集》,衣淑凡編,財團法人立青文教基金會,台北,第86頁,圖版 D2019
來源 藝術史學者陳炎峰好友暨法國作家米謝?阿拔赫(Michel Habart)家族舊藏 亞洲私人收藏 世紀遺珍,風華再現 常玉筆下的風流與鄉愁 「住在巴黎將近三十年的一位中國畫家,名叫常玉,四川人,於民國初年即去巴黎習畫,精素描…歷屆秋季沙龍都有他的出品,他的線條流動而優美,國內的洋畫家沒有一個趕得上他的功夫…。常玉是中國唯一一個真正的現代主義畫家,是近代藝術界中的寶貝。」 ——常玉摯友暨詩人、《新月》畫報出版人邵洵美 常玉的人物素描,是他畢生創作中重要的一環,據可考出版,其畢生創作了1800件素描,當中有1635件為人像畫。常玉自1921年赴法,剛到巴黎的前六年,所作均為紙上作品。他以其所熟悉的東方的紙與墨、炭筆、鉛筆,探索其所不熟悉的西方裸體、人物主題,在蒙帕拿斯藝術學院,抑或在街頭的咖啡館,他不倦地以畫筆在方寸之間探索其永恆的人物主題與巴黎的流光魅影,而在之中,我們得見其過人的洞察力、創造力、想像力和幽默感,為中國現代藝術開闢新途。2004年,巴黎吉美亞洲藝術博物館舉行了一場名為「常玉:身體語言」的展覽,該展強調了常玉作為巴黎畫派重要成員的歷史地位,也展現了藝術家在人體、人物主題上的各色風華與其作為常玉創作中的重要脈絡。 傳奇再續:阿拔赫家族舊藏現身 是次春拍,嘉德香港第三次推出由法國阿拔赫(Michel Habart)家族舊藏、來源有序的四件佳作,及一由巴黎畫商希耶戴(Jean Claude Riedel)舊藏的裸女速寫。米榭?阿拔赫與希耶戴為常玉重要的核心收藏家。曾任法國駐摩洛哥工程師的阿拔赫在一次機緣下,於巴黎圖歐拍賣(Drouot Auction)見大批常玉素描在藝術家過世後上拍,他被其中靈動的線條所深深吸引進而購藏,其後並進行深入研究,自此愛上常玉之作,在1979年他與藝術史學者陳炎峰結識,將其所藏、所知與其分享。陳炎峰回憶第一次見到阿拔赫藏之常玉作品時曾言:「此次,只略翻了百來張!但我心裡所受的震撼卻是這百來張重量的千萬倍。」其後兩人先後於台北版畫家畫廊與巴黎東方畫廊舉辦常玉紙上作品展,對常玉的市場推動功不可沒。而希耶戴則藏有上百張常玉素描與80件油畫,為其重要知音。是次我們藉兩人之舊藏,以一幀幀別樣的紙上風景走進常玉那短暫而精彩的一生。 別樣風情: 常玉鍾愛的捲髮有力模特 在阿拔赫珍藏的常玉紙本中,可見兩件藝術家最富盛名的裸體人物:《坐姿裸女》(拍品編號68)及《裸女背影》(拍品編號69)。畫中主角為同一模特,其一頭短捲髮、肌肉結實,身軀健美,據考據在常玉的紙上作品中,有32件均描繪此同一人物,為其鍾愛的西方模特兒。在1984年巴黎東方畫廊所舉辦的《常玉素描與水彩展》邀請卡封面之作亦得見此主角,而《坐姿裸女》及《裸女背影》即為其二代表。有別於一般纖瘦的女性審美,流露了常玉自身喜愛西方身材高大女性的審美觀,及一種時代女性的自信和力量美。在《坐姿裸女》中,主角側坐於地,雙臂自然垂向兩邊,藝術家在此刻意省略手部的描繪,令觀者的注意力聚焦於女子的面部及身體——她目光低垂,雙腿弓起,腳尖點地,大方地坦露胸懷,身體呈穩定的三角平衡,展現一種沉穩的力量感。其下巴優雅地抵住肩膀,流露出若芭蕾舞者般的優雅神態。常玉先以鉛筆勾勒其身,再加以炭筆,營造出其鎖骨、膝蓋處的皮膚褶皺,及周身的體積感,將女子低頭回眸間那靈動勁秀的肢體語言躍然紙上,成就觀者眼前的精彩一幕。作品正呼應了邵洵美所言: 「我們看了常玉的裸體素描後頓時覺得觸到了的熱氣,知道這裡面有的是生命,有的是力,是活的羅丹(Rodin)的雕刻。」 而在《裸女背影》中,常玉罕見地採取近乎全背面的角度來描繪,畫中人呈半跪姿、露出健碩而緊實的背部與臀部肌肉,其身微微前傾,一腳跪於地面,一腳垂直向前,似正準備起身,靜中有動,而不見表情微露的側臉帶給人無限想像。作品中清晰得見強而有力的線條在其間蜿蜒舒展,呼應常玉自言:「精簡的力量才更豐富無窮。」寥寥幾筆便以簡馭繁地展現藝術家對人體美分毫不失的精準掌握,而此具有力量感的身軀或也流露了彼時女性自主意識的抬頭,顯其特出。 黃金年代的風華倩影 「常玉外出隨身帶白紙簿和鉛筆。坐咖啡館,總愛觀察鄰桌男女,認為有突出形象者,立即素描。」 ——常玉在法友人王季岡 常玉筆下的女子不限於大茅屋藝術學院中的裸體模特,亦有其在日常生活所見益發覺得有特點的人物。《讀報仕女》(拍品編號70)與《斜坐女子》(拍品編號67)即為明例。前者見一曲腿而作的讀報妙齡少女。其身著連身裙,腳踏時髦的高跟鞋,藝術家刻意採取將身體變形拉長的側面視角,強化戲劇性的張力,藉以突出人物極為放鬆與舒展的身姿,她精緻的齊耳短髮下,露出低垂的眉眼與秀氣的鼻尖,修長的手指拉開報紙,心無旁騖地閱讀,渾然不知已成為藝術家筆下的美麗風景。畫背罕見地具若一封書信的前言,以法文寫下:「先生,請允許我??」,並標註「1928年12月20日」,對比常玉在1932年致畫商法蘭寇(Johan Franco)的信函,此極可能為藝術家之筆跡,一封未完成的信與一串日期,別令人生發對於常玉彼時生活的想像。此作也成為常玉罕見指涉創作年份之作,增添了作品的意義。 而在《斜坐女子》中,常玉改採以毛筆沾墨配合碳筆作畫。當中見靈動的墨線在乾濕之間勾勒出一斜倚著身子孤坐一隅的女子。她猶以半面示人,微閉的雙眼彷彿正準備小憩,酣然入夢。其雙手交叉撫於裙面之上,流露出略微拘謹的姿態。裙襬下方則見常玉筆下典型豐腴的小腿怡然交疊。而其身上的時髦的襯衫、半裙、牛津鞋則一顯巴黎黃金年代的時尚流行。縱觀常玉的人物速寫多即興、寫意,甚少見如本作般細節豐富者,凸顯其珍。 宇宙大腿與流動的氣 「常玉深諳水墨,下筆如飛,寥寥幾筆就能補捉到主角的神韻,或我們所說的『氣』,至於細節則是次要工作。」 ——立青文教基金會創辦人衣淑凡 而出自希耶戴舊藏的《斜臥裸女》(拍品編號71),則以如衣淑凡所言下筆如飛的氣韻,一氣呵成地繪出。常玉以由下往上的「窺探」視角為作品增添一絲玩味與親暱的氛圍。女子身著連衣裙,一手撐頭,一手搭在大腿上,姿態鬆弛愜意。而在下半部,其被誇張放大的雙腿與渾圓的腳趾直面迎向觀者,毫無扭捏遮掩之意,令其生成不露淫穢的媚態,恰是常玉好友徐志摩形容其筆下「宇宙大腿,正始敗領珍異也」的最佳典範。作品特殊的仰視視角與變形,使主角的臉龐似有還無地「遙不可及」,猶如可望而不可及的白月光,流淌常玉內心對情愛如赤子般柔軟的渴望。 從四川到巴黎,常玉一生輾轉,他將內心的波瀾壯闊化為眼前的紙上風景,下筆如有神,於是,其筆下的女子在其間一顰一笑、一動一靜,各自沈思、閱讀、凝視??恍惚間若斯人從未遠離,仍在那一筆筆的墨線間呢喃著生命的悲歡離合。眼前之作,在近一個世紀後依然鮮活、靈動,直指遊子無言的鄉愁。
Ink on paper
45.5 × 28.5 cm. 17 7/8 × 11 1/4 in.
Painted from 1920s to 1930s
LITERATURE 2014, Sanyu Catalogue Raisonné Drawings and Watercolors, Rita Wong, The Li Ching Cultural and Educational Foundation, Taipei, p. 86, Plate No. D2019
PROVENANCE Previous Collection of the family of art historian Chen Yen-Fon’s friend and French writer Michel Habart Private Collection, Asia The Treasures Reappear Sanyu’s Free Spirit and Nostalgia During his lifetime, Sanyu created 1,800 drawings, of which 1,635 were portraits. He uses the familiar Eastern paper and ink, charcoal and pencil to explore the unfamiliar Western human nude, tirelessly exploring his eternal human subjects and the glamour of Paris with his brush in the space of inches. In 2004, the Musée Guimet in Paris held an exhibition entitled Sanyu: l’écruiture du corps, which highlighted Sanyu’s historical status as an important member of the Paris School, as well as the artist’s diverse range of depicting human figures and its importance as a thread in Sanyu’s work. The Legend Continues: The Habart Family’s Old Collection Appears For the third time, Guardian Hong Kong is offering four masterpieces from the French family collection of Michel Habart and a sketch of a nude woman from the collection of the Parisian painting seller Jean Claude Riedel. Michel Abbott and Riedel were core collectors of Sanyu. With hundreds of drawings and 80 oil paintings in his collection, Riedel was an important confidant of Sanyu. This time, through their old collections, we will walk into the short but wonderful life of Sanyu with a different landscape on paper. A Different Kind of Female Beauty: Sanyu’s Favorite Curly-Haired Powerful Model Two of the artist’s most celebrated nude figures can be seen in the Habart collection: Seated Nude (Lot 68) and Back of the Nude (Lot 69), in which the main character in the painting are the same, with short curly hair, strong muscles and a fit body, which is different from the general aesthetics of slim women and reveals Sanyu’s own preference for the aesthetics of tall women in the West, who possesses strong self-confidence and strength of women of her time. The artist deliberately focuses the viewer’s attention on the woman’s face and body - her gaze is lowered, her legs are bowed, her toes are pointing to the ground, her bosom is generously exposed, and her body is in a stable triangular balance showing the strength of calm. The work echoes the words of Sinmay Zau: “We felt the heat of touch after seeing Sanyu’s nude sketches, knowing that there is a force of life here, like a living Rodin sculpture.” In Back of the Nude, Sanyu takes the rare step of depicting the nude woman from a full-back angle, with the person in the painting in a half-kneeling position, revealing the muscles of her back and buttocks. Echoing Sanyu’s own words: “The power of simplicity is more infinite.” This body with a sense of strength may reveal the rise of women’s self-awareness at that time. Glamour and Beauty in the Golden Age Sanyu also makes the distinctive women he found in everyday life his model. An example of this is Lady Reading Newspaper (Lot 70) and Reclining Lady (Lot 67). The former shows a young woman reading a newspaper with her legs bent. The artist has deliberately adopted an elongated side view of the body to enhance the dramatic tension and to highlight the extremely relaxed and spacious posture of the figure. The back of the painting is a rare letter prefaced with the words “Monsieur, please allow me to...” in French and marked “December 20, 1928”, most likely in the artist’s handwriting. An unfinished letter marked with dates, which in particular gives rise to the imagination of Sanyu’s life at that time. In Reclining Lady, Sanyu uses a brush dipped in ink and a carbon pen to paint. In this painting, a woman sitting alone in a corner is sketched out with flexible ink lines. She is shown with half a face, her eyes slightly closed as if she is preparing to take a nap and sleep soundly. Her hands crossed over her skirt, showing a slightly restrained posture. Underneath the hemline of the skirt, you can see plump calves overlapping. The fashionable blouse, half-skirt, and oxford shoes she wears show the fashion of the golden age in Paris. Throughout Sanyu’s sketches of people, they are mostly improvised and realistic, but rarely as detailed as this one, highlighting their preciousness. Thighs of the Universe In Reclining Nude (Lot 71) from the Riedel collection, Sanyu adds a touch of playfulness and intimacy to the work with a peek from the bottom up. The woman is in a dress, with one hand on her head and the other on her thigh, in a relaxed pose. In the lower part, her exaggeratedly enlarged legs and rounded toes face the viewer without any attempt to conceal them, giving her an unabashed and not lascivious appearance, which is a perfect example of what Sanyu’s friend Xu Zhimo described as “thighs of the universe”. The work’s special angle and deformation make the character’s face seemingly unreachable, like an unattainable moonlight flowing. Expressing Sanyu’s inner desire for love. From Sichuan to Paris, Sanyu’s life has been a series of transitions, and he has transformed his inner waves into the scenery on paper. The work in front of us is still vivid and lively after nearly a century, which refers to the wordless nostalgia of the wanderer.

本场其它拍品

  • Lot 61
  • Lot 62
  • Lot 63
  • Lot 64
  • Lot 65
  • Lot 66
  • Lot 67
  • Lot 68
  • Lot 69
  • Lot 70
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拍品估价:180,000 - 280,000 港币 起拍价格:180,000 港币  买家佣金:
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