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魏樂唐 1921-2012 琺瑯系列 John Way Vitreous Enamel
香港 北京时间
2023年04月06日 开拍
拍品描述
綜合媒材 畫布
二〇〇〇年作
款識 John Way 2000(右下) 出版 2001年,《魏樂唐八十回顧》,上海美術館,上海,第268頁
展覽 2001年8月17日至31日,「魏樂唐八十回顧展」,上海美術館,上海 來源 亞洲重要私人收藏 盤古開天,大地蘊生 華人抽象先鋒魏樂唐珍稀《琺瑯系列》 「魏樂唐之畫筆意雄健,縱任自在,如騰動之蛟龍;蘊彩積墨,五色純麗,如磅礡之朝霞。」 ——國畫家暨鑑賞家王己千 張大千曾感嘆「在波士頓,畫展不好開」,然在1965年,魏樂唐之作卻已位列波士頓現代美術館舉辦的「無筆之畫」大展,同場與沃荷?(Andy Warhol)、波洛克(Jackson Pollock)、哈同(Hans Hartung) 等諸多當代西方大師分庭抗禮。作為第一代旅美華人抽象畫家,其名早在西方如雷貫耳,魏樂唐在1921年生於上海書香門第,自小研習中國書法碑帖,16歲即曾舉辦畫展籌款救國;1945年定居波士頓後,受當時美國蓬勃發展的抽象表現主義浪潮洗禮,靈光乍現,認為「抽象表現是最接近東方和西方藝術的交匯點」,於是,他以東方遒勁古拙的筆勢入畫,使書法和抽象表現主義水乳交融,取得巨大成功。魏樂唐的作品曾入編《國際藝術辭典》、並獲瑞士政府多次印於郵票,迄今美國白宮、舊金山美術館、三藩市亞洲藝術博物館、上海美術館等機構均藏有其作品。 而自1970年起,其創作進入重要突破新創的階段,他首度在其中援引琺瑯拼貼,他說「琺瑯技巧是十四世紀俄國人首創的技術,我以中國書法的神韻,加上美國抽象繪畫的結構,交錯著法國十九世紀印象畫派的色彩,融合兩種材質在畫布上,這是前所未有的創造」。此使其畫作脫離了單純的二維性,兼具三維立體感,為其晚年又一神來之筆,該系列作品在其畢生創作中僅有十餘件,特別珍稀,而是次上拍的《琺瑯系列》即為其中重要力作。 畫間只見如朝陽初升的天空之中,雷霆萬鈞的黑色油彩如閃電一般降臨,像是盤古開天闢地時混沌初開的景色。魏老創造性地稀釋紅、黑二色,以水墨畫的「滲透技法」在畫布上以西方油彩畫出自然流淌、擴散的效果,充滿千軍萬馬的動勢。而天空之下粗獷的橙、金二色以抽象形式凝聚成充滿堅韌力量的雄渾大地,其間赭色的溝壑恣意蔓延,似是古老歲月雕刻出的痕跡,以氣勢磅礴的抽象重彩展現書法中濃濃的「金石味」。而畫面中心,紅白二色點綴的褐色方形琺瑯被鑲嵌其中,如女媧補天的彩石墜入大地,閃爍著神秘而莊重的靈性光澤,與平面畫作相輔相成,在不同角度示現千變萬化的幾何交錯結構,成就一幀傑作。此畫創作於魏老年近八十之際,展現他近耄耋之年卻仍具澎湃激昂的藝術能量,令人心生敬佩。
Mixed media on canvas
107.8 × 91.5 cm. 42 1/2 × 36 in.
Painted in 2000
Signed in English and dated on bottom right LITERATURE 2001, John Way Retrospective - 80 Years, Shanghai Art Museum, Shanghai, p. 268
EXHIBITED 17 - 31 Aug 2001, John Way Retrospective - 80 Years, Shanghai Art Museum, Shanghai PROVENANCE Important Private Collection, Asia Like Pan Gu Separating the Sky from the Earth Like the Earth Breeding all Living Things Chinese Pioneering Abstract Artist John Way’s Masterpiece?Vitreous Enamel? Zhang Daqian once lamented: “It is not easy to hold art exhibitions in Boston.”?However, in 1965, John Way’s work was exhibited in the Painting Without a Brush exhibition held by the Institute of Contemporary Art in Boston, equaling many contemporary Western masters such as Andy Warhol, Jackson Pollock, and Hans Hartung. As the first generation of Chinese abstract painters sojourning in the United States, John Way’s name has been known in the West for a long time. Born in a literary family in Shanghai in 1921, Way studied Chinese calligraphy and inscriptions since childhood. He held an exhibition at 16 to raise funds for saving China. After settling in Boston in 1945, he was inspired by the flourishing trend of abstractionism in the United States, which he viewed as the closest intersection of Eastern and Western art. Hence, he applied vigorous and primitive brushwork, grounded in Chinese culture, in his painting to blend calligraphy and abstract expressionism. Way’s works have been included in the?International Art Dictionary, printed on stamps by the Swiss government several times, and collected in the White House, the San Francisco Museum of Modern Art, the Asian Art Museum of San Francisco, the Shanghai Art Museum, and other important institutions. In 1970, Way’s creation entered an important breakthrough phase, in which he invoked enamel collage for the first time. He said:?“The enamel technique is created by the Russians in the 14th century. I combine the spirit of Chinese calligraphy, structure of American abstract art, colours of impressionism in the 19th century, and two different kinds of material on the canvas. This kind of work has never been created.” The use of enamel collage enabled his paintings to be free from two-dimensionality and to have a three-dimensional sense, which is also a masterpiece in his later years. Only a dozen pieces belong to this series in his lifetime creation and are thus particularly rare. The?Enamel Series, coming to be offered in this auction, is one of the most significant works of the series. In the sky where the sun seems to be rising, the thunderous black oil colours descend like lightning, like Pan Gu separating the sky and earth. Way creatively diluted the red and black colours and used the “penetrating technique” of ink and wash to create a natural flowing and spreading effect on the canvas with western oil paint. The rough orange and gold colours under the sky condense into a majestic earth full of tenacious strength, and the ochre-coloured ravines spread arbitrarily, showing a strong “epigraphic taste” in calligraphy with compelling abstract heavy colours. In the centre of the painting, a square brown enamel decorated with red and white colours is inlaid like a coloured stone used by Nüwa to mend the sky falling into the earth, shining with a mysterious and solemn spiritual light. This work was painted when Way was nearly 80 years old, representing his admirable, booming energy in artistic creation in his old age.

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