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拉姆・庫馬爾 1924 - 2018 無題 Ram Kumar Untitled
香港 北京时间
2023年04月06日 开拍
拍品描述
壓克力彩 畫布
二〇〇四年作
款識 Ram Kumar 04(畫背)
來源 現亞洲私人藏家直接購自藝術家本人 附:藝術家開立之親簽作品證書 打破藩籬,自由與和平的真切呼籲 印度現代藝術大家庫馬爾的人文關懷 「庫馬爾是為數不多的、也許是唯一的一位印度藝術家,在他過去五十年的畫作中見證了『人類的狀況』,作品表現其痛苦、孤獨、對解放的渴望,和對世界的接納。」 ——印度作家維爾馬(Nirmal Verma) 拉姆?庫馬爾(Ram Kumar)1924年出生於印度,早年在德里大學修讀經濟學,機緣巧合下與藝術結緣,並入夜校學畫發展自我對於藝術的興趣及天賦,大學畢業後毅然捨棄金融行業的工作機會,並於1949年赴法師從立體主義名家雷捷(Fernand Léger)與洛特(André Lhote)門下。1952年歸國後加入印度推動表現主義、後印象主義、立體主義發展的「先鋒藝術家群體」(Progressive Artists’ Group),旨在超脫彼時主導印度藝壇的宗教民族主義「孟加拉學派」(Bengal School),突破因習傳統描繪具象人物及宗教畫的窠臼,推動印度藝術走向革新之路。1956及1958年庫馬爾兩度獲得印度「國家獎」(National Award),2003年獲法國政府「藝術與文學勳章」(Ordre des Arts et des Lettres),在新德里、孟買、倫敦、紐約等地的畫廊、美術館舉辦過超過40餘次個展,被譽為「印度現代藝術最重要的抽象藝術家」之一。 《無題》創作於2004年,為庫馬爾晚年作品,該時期作品均匯融早期人像與中後期抽象風景的特色,將兩者合一步入完滿之境。其對人像的興趣源於旅法時期,當時正值二戰後的經濟寒冬,他一邊通過翻譯印度語艱難謀生一邊學藝,見證了大量貧民在城市生活中的困境,故主要描繪具立體主義風格的人物。正如西方寫實主義大師庫爾貝(Gustav Courbet)所言「我不會畫天使,因為我從來沒有見過天使」。對於底層人民生活現狀的關懷成為庫馬爾創作中永恆的議題。 在《無題》的中心,可見三個膚色各異的人物頭部和下端的建築物相結合,繼而連綿不絕地延展出整個城市,抽象的塊狀像如積木般堆疊出象徵城市中貧民的生存空間。此番奇幻的半抽象、半具象設想,暗示人與狹小的生存空間綁定、困頓的社會現實。三個主人公眼神之間並無交流,飄忽地分別忘向不同的方向,若隱喻人與人之間的藩籬、人情冷漠的情緒困境。而藝術家大量使用金棕色、橘黃色、赭紅色等暖色鋪設全局,使畫境的整體氛圍仍顯得溫柔安定,並以虛實結合的筆法留下帶有飛白的動態筆觸,使作品既具斑駁厚重的歷史感又帶循環往復的流動感。暗示人們之間本質上的關懷並未消失,只是暫時被困境所掩蓋,而看似牢不可破的藩籬具被打破的機會,表達了藝術家面對世界的困境的局勢仍不乏熱切的信心,在銘記歷史的同時鼓勵人們始終不要失去希望,展現對於和平與自由平等的真切呼籲。
Acrylic on canvas
88.9 × 55.9 cm. 35 × 22 in.
Painted in 2004
Signed in English and dated on the reverse
PROVENANCE Acquired directly by present private Asian collector from the artist This work is accompanied by a certificate of authenticity issued and signed by the artist Breaker of Barriers, Sincere Calling for Liberty and PeaceIndian Modern Art Master Kumar’s Humanistic Care Born in India in 1924, Ram Kumar studied Economics at Delhi University in his early years, yet he became attached to art and studied painting at a night school. After graduation, Kumar resolutely gave up the opportunity of working in the financial industry and went to France in 1949, painting under the guidance of Reger and Lotter. He returned to India in 1952 and became a member of the “avant-garde artist group”, promoting Expressionism, Post-Impressionism, and Cubism. The group’s proposal aimed to challenge the religious nationalist “Bengal School” which dominated Indian art then, and break the shackles of the traditional portrait and religious paintings. Kumar won the Indian “National Prize” twice, separately in 1956 and 1958, and was awarded the “Ordre des Arts et des Lettres” issued by the French government in 2003. He has held over 40 solo exhibitions at the galleries and art museums in New Delhi, Mumbai, London and New York, being honoured as one of the “most important abstract artists in Indian Modern art”. Untitled was created in 2004, during Kumar’s later years when he managed to harmoniously combine the features of early portraits and abstract landscape painting in his middle and late periods. His interest in portrait painting originated in his travelling and studying experience in France, where he studied art and supported himself by translating Indian, simultaneously witnessing the struggle of the lower-class people in the urban areas during the economic depression. Western Realist master Courbet said, “I have never seen either angels or goddesses, so I am not interested in painting them.” The humanistic care and sympathy for the living plight of the people at the bottom have become an eternal subject in Kumar’s works. At the centre of Untitled, there are three figures of different skins with their heads combined with the lower architecture. The abstract patterns accumulate like building blocks, suggesting the living space of the poor urban people. The fantastic juxtaposition of half-abstract, half-realistic imagery indicates the tragic social phenomenon that people are bound to the narrow space. Moreover, there is no eye contact between the three characters as their eyes drift in dispersive directions, embodying the interpersonal barriers and indifference in modern urban life. However, the artist uses an overwhelming warm-toned palette, including golden brown, orange, and ochre, which makes the overall atmosphere gentle and peaceful. At the same time, Kumar adopts dynamic strokes with white to combine virtual and real brushwork, giving the work both a mottled, heavy historical quality and a sense of dynamic. The work seems to tell us that humanistic care, instead of disappearing, is temporarily covered by predicaments, and the seemingly unremovable barriers can be broken. The work expresses the artist’s optimism and confidence in the world and a sincere calling for global peace, liberty and equality despite the current plights.

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