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胡善餘 煤山俯視 油彩 畫布 Hu Shanyu 1909-1993 Overlook from Coal Hill Oil on canvas
香港
2023年10月08日 开拍
拍品描述
size:36.5 × 59.5 cm. 14 3/8 × 23 3/8 in.
款識 善餘(左下) 出版 1997年,《胡善餘畫集》,敦煌藝術中心,台北,第8及25頁
Signed in Chinese on bottom left LITERATURE 1997, Paintings of Hu Shanyu, Dunhuang Art Co. Ltd., Taipei, p.8 & 25
來源 2010年11月22日,北京誠軒秋季拍賣會,拍品編號719 2019年3月30日,嘉德香港春季拍賣會,拍品編號704 現亞洲重要私人藏家直接購自上述來源 舉目千里,壯闊詩情 胡善餘的風景畫代表《煤山俯視》 在油畫技法傳入中國後的300年中,胡善餘是「赴西方留學的畫家中取得突出成就的一位,也是在中西方藝術融滲中自成一格的藝術家」。他和吳冠中、蘇天賜等杭州藝專的藝術先鋒們建立起「學貫東西、自成一體」的創作風格,並借助留法熱潮充分接觸西方繪畫的種種革新,為中國近現代藝術發展起到了重要推動作用。其作品曾被中國美術館、上海美術館、南京美術館等收藏,並為中國美術館收藏作品最多的畫家之一。 胡善餘畫風典雅、含蓄,講究造型的細膩,但又具西方印象派斑爛多姿的色彩,他融會西式創作媒材與東方美感,開創出一種具有「西方造型、東方情韻」的畫風,是次秋拍的《煤山俯視》即為箇中表徵。作品曾於1997年出版於敦煌藝術中心《胡善餘畫集》。此畫境採取一個特殊的俯視視角,畫家登高望遠,將新時代的城市風貌盡收眼底,近景山上的茂密樹叢佔據一半畫幅,亭台樓閣點綴其中,賦予當代城市景觀以江南園林般的詩意;遠處的城市面貌在此一覽無遺,帶有舉目千里的壯闊視野,並襯托出山上自然景觀的靈動之感,在對比中顯示出當代社會自然與人文景觀的和諧共融。 在用色上,胡善餘以多重交疊的色塊進行鋪墊,使山林、涼亭、城市建築等景物帶有如塞尚(Paul Cezanne)風景畫般的堅實感;而近景用筆乾濕交錯、遠處城市與近處建築上色彩的明暗造型則顯示出德加(Edgar Degas)對他的影響。即使如此,在《煤山俯視》畫面中可以看到東方傳統風景中的廟宇、藍紅色彩相交的尖塔造型建築,展現深層的東方美感。並通過減弱建築、樹木等物象的明暗來突顯景象間的對比,展現出近處山景、遠處城市以及明朗天空間重重推進的層次,三景分明,使作品在符合中國傳統審美意趣的同時,又兼具西方油畫表現的生命力。 胡善餘的風景創作在寫實中注重意象的表達,又在意象中流露出自在本性。每一筆都交織著他對現實與浪漫的追逐,「他捕捉的是感覺,表達的卻是深情」。
PROVENANCE 22 Nov 2010, Beijing Chengxuan Autumn Auction, Lot 719 30 Mar 2019, China Guardian Hong Kong Spring Auction, Lot 704 Acquired directly by present important private Asian collector from the above Setting the Eye Afar, a Grand and Expansive Poetic Sentiment Signature Landscape Artwork by Hu Shanyu During his studies in France, Hu Shanyu came into contact with the latest movements and theories in Western painting. He and other Chinese expats such as Wu Guanzhong collectively developed a style fusing East and West in order to become trailblazers of Chinese modern art. In his work Overlook from Coal Hill, Hu paints a panoramic view of a modern city. In the foreground, the hill's luxuriant foliage takes up close to half of the canvas. Among the trees, one can make out a Chinese-style pagoda and, farther away, what appears to be a palace. These unexpected elements add the romanticism and tranquility of a classical Chinese garden to this otherwise modern scene. The jumble of urban buildings extends far into the distance, giving a sense of the breadth and majesty of the city. Meanwhile, the stark contrast between foreground and background sets off the beauty of the hillside while at the same time hinting at a harmonious coexistence of human-made and natural elements in contemporary society. Where the use of colour is concerned, Hu creates the underlayer of the image using both opaque colour blocks as well as diluted oil paints that have the translucent quality of aquarelle. In this way, he gives common scenery such as the hillside foliage, the pagoda, and the urban buildings a sturdy and clearly defined appearance reminiscent of works by Cézanne. Meanwhile, the influence of Toulouse-Lautrec and Degas is evident in Hu's alternation between dry and wet brushstrokes when painting crisp lines in the foreground as well as his contrasting use of bright colours on the Chinese buildings and duller colours on the urban scenery in the background. Furthermore, by incorporating the traditional Chinese technique of creating depth and variety of space through the use of contrasting hues such as yellow and green or red and blue, Hu masterfully fuses Chinese aesthetics with the expressiveness of Western oil painting.

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