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徐悲鴻 1895-1953 裸女像(一組兩件) Xu Beihong Nude from the Back (Diptych)
香港 北京时间
2023年04月06日 开拍
拍品描述
鉛筆 紙本
款識 Péon(左件左下) 悲鴻(右件右下)
來源 亞洲私人收藏 2011年10月3日,香港蘇富比秋季拍賣會,拍品編號709 現亞洲重要私人藏家直接購自上述來源 以精妙光影聯袂,抒風韻曼妙之美 徐悲鴻《裸女像》 「研究繪畫者之第一步功夫即為素描,素描是吾人基本之學問,亦為繪畫表現唯一之法門。」 ——徐悲鴻 徐悲鴻是中國現代美術的奠基者、教育家,主張融合西方以素描為基底的現實主義改良中國現代美術。1895年生於江蘇宜興的他,父親徐達章為當地著名畫家,自幼隨父習畫,九歲即可速寫人像,展現出捕捉人物特徵的非凡才能。1916年,徐悲鴻考入上海震旦大學攻讀法文,課餘仍勤奮作畫,並受聘為明治大學繪畫講師,得以於1917年赴日考察,次年歸國即轟轟烈烈地投入新文化運動,提倡對中西方藝術應「取之精華,去之糟粕」,堅持實事求是的精神。1919年,他得蔡元培支持赴法留學,考入巴黎國立高等美術學校,拜師於法國藝術家達仰(Dagnan?Bouveret)正式學習素描。旅法期間,他雖生活拮据,但仍每天堅持作畫十幾個小時,畫了大量的人體習作,奠定了堅實的素描基礎。「素描」自此至晚年伴其一生,不僅是他諸多油畫作品的根本,亦是他獨立的、重要藝術表達。1925年歸國後,徐悲鴻作為中央美院校長,與顏文樑、林風眠和劉海粟並稱「四大校長」。艾中信、吳作人等都為其門下高徒,他在教學上提倡描繪人民真實的生活,並定下2年嚴格的素描基礎訓練,對於素描的重視可見一斑,曾言:「妙屬於美,肖屬於藝,故作物必須憑實寫,乃能惟肖」。 玉骨冰肌,各具綽約 《裸女像(一組兩件)》即為其素描女體中的佳作,畫中主角均示為背像、隱去面部表情,如同夢中苦覓而不可得的伊人,充滿東方含蓄神秘的氣質,亦反應畫家內斂的性格。徐悲鴻以巧妙的造型變化反應二者情緒的差異:左件女子鬢髮如雲、整齊盤起,左膝微彎,右手自然垂下而左手向前伸出,似若有所思地凝視歲月在掌心留下的紋路,滿含東方對女性婉約的想像,盡顯優雅柔美的體態和細膩敏感的思緒。而右件女子似乎剛剛甦醒,烏黑秀髮悄然散落一束,右手自然抬起梳理髮髻,展現手臂勻稱的肌肉和自然延展的胸腹曲線,大腿流露堅實的力量感,充滿慵懶的閒適意趣,打破了彼時中國畫作中女性柔弱纖細的固定繪畫範式。二位佳人各具千秋、風姿綽約,展現人體的天然自信之美。 畫中更現徐悲鴻對於「人身肌骨曲直隱顯,亦實包羅萬象」的精確掌握,畫中人的肩胛、髖部、四肢關節處清晰地以留白展現出骨架,細膩的灰色調以不同深淺詳略得當地勾出二人後背、腿部自然延伸的肌肉曲線,並加以黑色重筆塑造出身體圓潤豐滿的體積感,令人體在二維平面上變得有血有肉。另一方面,如此準確細膩的刻畫基於強而有力的精煉造就,女子四肢、腿部及背部的明暗交界線過渡流暢、灰白之間界限明確,呈現一種凝練的簡約,正如藝術家所言:「但求簡約,以求大和,不尚瑣碎,失之微細」,現其高深素描功力。徐悲鴻的人體素描不僅達到了造型上的準確,還生動展現出描繪對象的內心情境、神態氣質及婉約素雅的東方氛圍,印證了其以西方寫實素描展現中國現代氣質的時代創新。
Pencil on paper
30 × 17 cm. (left piece); 33 × 20 cm. (right piece) 11 3/4 × 6 3/4 in. (left piece); 13 × 7 7/8 in. (right piece)
Signed in French on bottom left of the left piece; signed in Chinese on bottom right of the right piece
PROVENANCE Private Collection, Asia 3 Oct 2011, Sotheby’s Hong Kong Autumn Auctions, Lot 709 Acquired directly by present important private Asian collector from the above Delicate Light and Shadow, for Charm and Grace Xu Beihong’s?Nude from the Back “The first step in the study of painting is sketch, which is our basic knowledge and the only way to express in painting.” ——Xu Beihong? Xu Beihong is an educator and the father of modern Chinese art. He is an advocate of improving modern Chinese art through the integration of western sketch-based realism. Born in Yixing, Jiangsu, in 1895, Xu Beihong studied painting with his father, Xu Dazhang. At the age of nine, he already showed his extraordinary ability to capture the characters’ features in drawing. In 1916, he was invited by Meiji University as a lecturer to teach painting and visited Japan the following year. In 1918, he returned to China and engaged in the New Culture Movement, during which he promoted his attitude towards Chinese and Western arts: “take the essence and discard the dregs”. In 1919, with the support from Cai Yuanpei, he went to France to study at the école Nationale Supérieure des Beaux-Arts in Paris, where he studied sketch under the French master Pascal Dagnan-Bouveret. “Sketch” became not only the basis of many of his oil paintings but also his independent artistic expression, and the technique accompanied him throughout his life. After returning to China in 1925, Xu Beihong, as the head of the Central Academy of Fine Arts, set a strict two-year sketch training programme for all his students, reflecting his emphasis on sketch.? Jade-like Bone and Ice-like Skin, Graceful and Implict The artwork?Nude from the Back (Diptych)?is one of Xu Beihong’s best sketches of female body. Figures in the painting are depicted from the back, and he represents the difference between their emotions by elaborately stylistic changes. The woman in the left plane has cloud-like hair, which is neatly coiffed, and her left knee is slightly bent, with her left hand stretching forward. Seemingly she is gazing thoughtfully at the lines left by the years in her palm, indicating her elegant and soft physique as well as delicate and sensitive thoughts. On the country, the woman on the right seems to have just awakened, with black hair loosely tied in a bundle and her right hand raised to stroke the hair, showing her evenly proportioned muscles of arms and the naturally extended curves of the chest and abdomen. Her thighs reveal a solid sense of strength, breaking the fixed painting paradigm of femininity and slenderness in Chinese paintings at that time. The two beauties, each in their own way, represent the confident beauty of the natural human body.? Xu Beihong’s precise mastery of the human body structure is evident in the two paintings. The scapulae, hips and joints of the limbs of the characters are depicted clearly with colour absence, the natural extension of the muscular curves of their backs and legs are outlined by the delicate grey tones in a detailed and appropriate manner, and rounded and voluminous bodies are shaped by heavy black strokes. Xu’s sketches of the human body not only achieve stylistic accuracy but also vividly reveal the inner mood, demeanour and elegant oriental charm of the subjects depicted, echoing his innovation of using Western realistic sketches to show the modern Chinese temperament.

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