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顧福生 兩人世界 油彩 畫布 二〇〇九年作 Ku Fu-Sheng 1935-2017 The Two of Us Oil on canvas Painted in 2009
香港
2023年10月08日 开拍
拍品描述
size:152.4 x 127 cm. 60 × 50 in.
款識 藝術家鈐印Ku(中下) 出版 2012年,《顧福生》,誠品畫廊,台北,第28頁
Stamped with one artist's seal and signed in English on lower centre LITERATURE 2012, Fu-Sheng Ku, Eslite Gallery, Taipei, p. 28
展覽 2012年8月10日至9月2日,「顧福生」,誠品畫廊,台北 來源 台北誠品畫廊 亞洲私人收藏 附:台北誠品畫廊開立之藝術家親簽作品證書 攜手永伴,許諾終生 顧福生的浪漫情結 「藝術是顧福生的全部生命,藝術佔滿了顧福生的整個世界,他的心中,已無方寸之地,可以容納其他。」 ——文學家白先勇 1935年出生於上海,為白先勇摯友及三毛老師的顧福生,是台灣現代藝術的先鋒人物。1954年,他在老師朱德群的鼓勵下進入台北師範大學美術系學藝,在保守的60年代,他大膽直面身體、慾望、人性等課題,抒發對於生命與世界的觀察及想像,展現強烈的情緒感染力。1958年顧福生與劉國松、韓湘寧、莊喆等人組成「五月畫會」,並於1961年舉辦個展,成為畫會中第一位舉辦個展的藝術家,同年他贏得「巴西聖保羅國際雙年展榮譽獎」,奠定在藝術界的名望。 自師大畢業後,顧福生於1961年遠赴法國學藝,初步開拓了拼貼創作的興趣。兩年後又取得紐約藝術學生聯盟獎學金赴美深造,隨後旅居波特蘭、洛杉磯等地直至逝世。在美期間,他發揚了對「人體」的深度探索,並不拘一格地大膽在多元媒材中進行藝術試煉。尤其是1990至2002年的「波特蘭時期」其創作疆域空前擴大,在畫布和紙本之外,陶瓷、木材、花布等媒材也被吸納。而2008年至其晚年的「洛杉磯時期」,他將人體徹底從早年孤獨的情景中釋放出來,流露出溫暖而豁達的情感,完成一件件具東方美感的先鋒作品,為人稱道。其作曾為香港驕陽基金會、台北市立美術館、高雄市立美術館、美國包爾博物館等機構收藏。是次秋拍將呈現顧福生結合東西方藝術語彙的晚年「洛杉磯時期」代表性「雙人舞」主題油畫《兩人世界》(拍品編號95),及「波特蘭時期」充滿童趣的多媒材作品《淑女與紳士》(拍品編號96),領人走入他情感豐富的世界。 浮金流丹,舞步翩遷 「顧福生五十多年來反覆探究從早期即相信人體可做藝術語言和表達心境的潛力,蘊蓄出畫中動力激昂的人像和情感澎湃的自然,這是他的藝術最好的定義。」 ——美國大都會藝術博物館策展人馬唯中 1963年赴美後,顧福生潛心吸收該地文化,彼時電視節目上運動員和舞者優雅有力的體態也啟發了他,在1976年創作《玫瑰舞影》般以舞者入畫之作。而到2000年代,他特別喜愛收看美國明星舞蹈比賽真人電視節目(Dancing with the Stars),陸續創作出一系列以舞者為主題之作,備受青睞,如台北市立美術館收藏的《夜黑歡舞》即為一例證。是次上拍的《兩人世界》創作於2009年,恰體現「雙人舞」主題:畫面中心現兩位身著現代服飾的舞者,在朱紅大地之上、金色松柏樹下共舞,熠熠生輝。顧福生在松樹上畫出不同深淺的金黃,塑造明暗對比強烈的金屬質感光影。樹上有仿若雕刻的鏤空,並在朱紅底色上投下具層次感的陰影,好似一塊真金。畫中男子著筆挺的黑色西裝,金髮女子穿露背小黑裙和紅色舞鞋。他們跳著交際舞,欣長而健美的四肢具張力地極致展開,彰顯肢體語言在舞蹈中熱烈恣意的美。正如顧福生自言:「我喜歡情感豐富、有戲劇性的,不要太冷酷的」。此作以東方「松柏」元素和金紅的吉祥用色,結合西方舞蹈的主題,彰顯了顧福生在不同文化脈絡之間不拘一格地創新,帶觀者舞入流光溢彩的新世界,作品充滿激情和喜悅。 陪伴是最長情的告白 顧福生重視情感,他不僅常以朋友和親人入畫,還對小動物情有獨鍾。據草莓山莊出版社總裁路易斯(Jean-Louis Brindamour)回憶:「顧先生非常喜歡狗,他常把寵物納入畫中變成主體,一來賦予寵物不朽的生命,再者,也是感謝寵物的陪伴及帶給他的愛」。《淑女與紳士》中,以鉛筆和壓克力彩描繪兩隻栩栩如生的小狗,牠們溫順地趴著,眼神中流露慵懶的意味,像是正陪伴主人享受時光。原產自中國的白色京巴犬和黃色田園犬聯繫著顧福生的故土記憶,但他卻在此作中為小傢伙們起了「洋氣」的名字,將作品英文命名為《阿拉貝拉與龐森比》,以擬人的修辭形容他們的姿態宛若文質彬彬的淑女與紳士,充滿了對寵物幽默的親愛之情,及對現實生活中人們詼諧的指擬。 此外,在底部棕色的花布上,印滿代表「花開富貴」的牡丹、「百年好合」的百合等吉祥紋樣,彷彿寄託綿綿愛語。顧福生赴美後,受到了在美姊妹及友人白先勇的鼎力支持,作品中染上了溫情的色彩,正如此作所示現的「陪伴」之情,暖意融融而觸動人心。
EXHIBITED 10 Aug – 2 Sep 2012, Fu-Sheng Ku, Eslite Gallery, Taipei PROVENANCE Eslite Gallery, Taipei Private Collection, Asia This work is accompanied by a certificate of authenticity signed by the artist issued by Eslite Gallery, Taipei Hand in Hand and Vowing for Life Ku Fu-Sheng's Romantic Sentiments Born in 1935 in Shanghai, Ku Fu-Sheng, a close friend of Hsien-yung Pai and the teacher of Sanmao, was an avant-garde artist in modern Taiwan. In 1954, encouraged by his mentor Chu Teh-Chun, he went to study in the Department of Fine Arts at National Taiwan Normal University. Living in the conservative 1960s, he was bold to confront issues such as the human body, desire, and humanity with strong emotional sensations. Ku Fu-Sheng joined the Fifth Month Group in 1958 and, in 1961, was the first in the Group to hold a solo exhibition. In the same year he won the honorary award of the Sao Paulo Biennale and built a reputation in the art world. In 1961, Ku Fu-Sheng arrived in France to study art, where he experienced with producing collages. Two years later he traveled to the United States on a scholarship offered by the Art Students League of New York, and lived in Portland and Los Angeles, among other places, until his death. During the stay in the U.S., he continued his profound exploration with the body while playing with a variety of media. The artist saw the ground of his artistic production expand during his "Portland period" (1990-2002) to involve ceramics, wood, and patterned fabrics outside the use of canvas and paper. Then, in the "Los Angeles period" that lasted from 2008 to the final years of his life, he released the body from the solitary situations that he created in his early career to let feelings of warmth and expansiveness flow, producing avant-garde works that embody an Eastern aesthetics. Ku Fu-Sheng's works are in the collections of the Sunpride Foundation in Hong Kong, Taipei Fine Arts Museum, and the Bowers Museum?in Santa Ana, California, among others. The autumn action will present The Two of Us (Lot 95), an oil painting with the theme of pas de deux that is representative of the "Los Angeles period" while combining Eastern and Western visual vocabularies, and Lady Arabella and Lord Ponsonby (Lot 96), a mixed-media work that emanates child-like playfulness. A Compassionate Dance in a Dazzling World of Gold and Vermillion Upon arriving in the U.S., inspired by the elegant and powerful postures of athletes and dancers on television, Ku Fu-Sheng created a beloved series of works that features dancers. The Two of Us in the autumn auction, created in 2009, is of the pas de deux theme: taking up the centre stage of the picture, two dancers in modern clothing share a dance under a gleaming golden pine tree in front of a vermilion pictorial ground. To execute the pine tree, Ku makes use of various tones of yellow and gold and creates a strong contrast between the light and the shadow to enhance the tree's metallic texture. In the painting, the man wears a fitted suit and his partner a black backless dress and a pair of red dancing shoes. Outstretched and dynamic, their fit and elongated limbs engage in a ballroom dance, conveying an enthusiastic and unrestrained beauty in the body language of the dance. The work combines Eastern elements of the pine and the auspicious gold and red colours with the subject of the Western ballroom dance. The work not only shows the artist's innovation with different cultural contexts but is itself filled with passion and joy as it leads the viewer into a dazzling, kaleidoscopic new world. Companionship as the Longest Confession of Love The sentimental Ku Fu-Sheng often took his friends and family as his painting subjects, while being greatly fond of animals. In Lady Arabella and Lord Ponsonby, two dogs, depicted vividly with graphite and acrylic paint, tamely lie on their bellies and seem to enjoy the time with their owner. The white Pekingese and beige Chinese Pastoral Dog, which are both native to China, relate to the artist's memories of his homeland. His anthropomorphic representation of the dogs' postures renders them as a lady and a gentleman, which exudes his humorous affection towards his pets and a witty reference to people in real life. Furthermore, the brown floral backdrop is printed with peonies that symbolize blooming wealth and lilies that connote longevity and life-long union, voicing words of love. In the U.S., accompanied by his sisters and friend, Hsien-yung Pai, Ku's works are tinging with warmth, just as how the sense of companionship in this work is touching people's hearts.

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