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吳冠中 洋阿福 油彩 畫布 一九九四年作 Wu Guanzhong 1919-2010 Ah Fu, a Foreigner Oil on canvas Painted in 1994
香港
2023年10月08日 开拍
拍品描述
size:75 x 85 cm. 29 1/2 × 33 1/2 in.
款識 荼94(右下)洋阿福1994吳冠中(畫背) 出版 1999年,《1999吳冠中藝術展作品集》,中華人民共和國文化部及中國美術館,北京,第213頁 2007年,《吳冠中全集IV》,湖南美術出版社,長沙,第108頁 2010年,《吳冠中:畫眼》,文匯出版社,上海,第207頁 2010年,《世界藝術大師吳冠中(續)》,文化藝術出版社,北京,第123頁
Signed in Chinese and dated on bottom right; titled and signed in Chinese and dated on the reverse LITERATURE 1999, Art Exhibition Collection of Wu Guanzhong, Ministry of Culture of the People's Republic of China and National Art Mueseum of China, Beijing, p.213 2007, The Complete Works of Wu Guanzhong Vol.IV, Hunan Fine Arts Publishing House, Changsha, p. 108 2010, Wu Guanzhong: Hua Yan, Wenhui Press, Shanghai, p.207 2010, Wu Guanzhong: Great Master of Art in the World, Culture and Art Publishing House, Beijing, p. 123
展覽 1999年11月5日至12月2日,「1999吳冠中藝術展」,中國美術館,北京 2021年11月19日至2022年5月18日,「現代的脈動——寶龍藝術大展」,寶龍美術館,上海 來源 亞洲重要私人收藏 2016年4月3日,蘇富比香港春季拍賣,拍品編號1037 亞洲重要私人收藏 人間至美,白首舞豐姿! 吳冠中九〇年代珍罕人物主題鉅作 「追憶丹青生涯,九十年代再畫人體,重溫青年時代的夢,然而永遠無法涉足於當年沐浴的河流中去。流水已逝,年華老去,所見所思,落筆成畫圖,誰看白首起舞。」 ——吳冠中 1989年,香港著名的萬玉堂畫廊為吳冠中舉辦「吳冠中——萬紫千紅」畫展。開幕之日盛況空前,作品於開幕後一個半小時即售罄,連玻璃門都被盛情的藏家撞破,登上新聞!兩天後,吳冠中的《高昌遺址》在香港拍賣會上,以187萬港元成交,創在世中國藝術家拍賣最高價紀錄。三年後,倫敦大英博物館首開先例,為吳冠中舉辦個人畫展,這場破天荒的中國畫家藝術展震撼了世界。可以說,進入九〇年代,吳冠中在藝術成就上已步入真正的巔峰,開啟了長達十餘年波瀾壯闊的豐沛創作之旅。正是在這一時期,他出埠寫生,力求在人生盛年之際走遍世界,用真摯畫筆彩繪世間真情。是次秋拍隆重呈現藝術家於1994年印尼採風之旅的珍絕人物主題代表作《洋阿福》。藝術家罕見的以峇厘島海岸邊的英國女子為模特,將對人物造型體量的理解、抽象構圖的精髓融入其中,為其女體畫至臻代表。 珍罕人物主題代表 「我印象很深是他在峇厘島的海邊,在穿著泳裝的人群中很是顯眼。也是在那裡,他碰到作品《洋阿福》的原型,我拍下他們的合影。他激動地跟我說,『這是馬約爾(Joseph Mallorl)和畢加索(Pablo Picasso)所求的量感美的典型呀』!」 ——吳冠中摯友蔡斯民 自1990年來,創作已入自由之境的吳冠中開始重拾「人體」這一闊別40多年的繪畫主題,至其辭世前,共完成22件女體創作。其中有18件完成於1990至1991年,以描繪瘦削的豆蔻年華少女為主。直至1994年主角「豐腴」的《洋阿福》,令其女體繪畫有了明顯的轉變。而吳冠中對於喜愛的作品構圖有反復創作的習慣,透過調整細節,追求不同的表現效果:繼《洋阿福》誕生後,吳冠中又先後創作了《泉》(1995年)、《岸》(2002年),以及《桃色旋風》(2008年),共4件強調「體量」的女體可謂自成系列。其中,《桃色旋風》已被北京中國美術館收藏,顯示畫家本人對於作品之滿意,以及藝術界對此系列之推許。 回顧吳冠中的創作生涯,人體這一主題在初學畫時是門必修課,但後因政治因素未再繪人物。而此時,年過七十的風景畫大師在印尼偶遇了心目中理想的模特——眼前的西方女子雖非妙齡少女,身材豐腴,卻以俏麗的短髮、靚麗的泳衣示人,無懼他人眼光,泰然自若!令吳冠中提筆作畫,打破了傳統的東方「人比黃花瘦」的審美,將充滿份量感的自信之美傳遞人前。《洋阿福》一作也使其繪畫回到了最初的原點,用色、用筆、構圖、對比、平衡、表現力無一不兼備,若以此方式重新審視、蛻變出「新的自我」,凸顯此作之深刻要義,份外可貴! 融貫中西,形塑量感之美 早在1980 年,吳冠中就曾提出:「英國雕塑家亨利.摩爾(Henry Moore),他鑿出來人體已經不完全是人的外表皮相,他表達了人的動和靜,伸和縮,歌頌了宇宙主人的力量。」 而後十年,吳冠中日日在描畫抒情表現之間、造型的準確性與形式美的追求之間深探,而步入九十年代,他早已遊刃有餘:畫中女子以「頂天立地」的形式佔據絕對中心,增強人物的體量感,更呼應了作品名稱「洋阿福」。對此,吳老曾言:「中國人大都不接受這種調侃之美,但我們欣賞無錫泥阿福。我前幾年在印尼海邊見到一位肥碩驚人的英國年輕婦女,是造型藝術中追求量感美的最佳模特兒了,返京後為此作了幅油畫,不接近西洋藝術的客人來家看到後都覺得刺激、好奇,我於是解說,這是『洋阿福』,他們會心地點頭了,因而我命此畫為洋阿福。西方現代藝術的主要特徵就是表達感情之任性,形式走極端。馬約爾雕刻的肥婆比楊貴妃胖得多,其實已超越「胖」的概念,在追求造型中的飽滿與張力,即所謂量感美。 」《洋阿福》在吳老筆下,人物的圓、美、豐滿、開朗自信的性格及張力畢現,正是「量感美」及人物精神與外貌特色的最佳例證。 「我畫的不是胖子,而是想通過現實題材來表達一種體積帶來的美感和塑性。藝術是變形和誇大的,跟胖子沒有關係。」 ——拉丁美洲知名藝術家博特羅(Fernando Botero) 吳冠中認為,「量感美」早已在中西美術史上存在多年,「西方人認識量感美已是十九世紀,馬約爾、畢加索,我的老師蘇弗爾皮(Jean Souverbie)等都是量感美的偏愛者。其實,先不談霍去病墓石雕或周昉,中國民間藝術早就創造了多種量感美的傑作,無錫的泥阿福便屬典型之一。」回顧無錫惠山的泥阿福,自明朝以降,造型通常極其簡練,盤膝而坐,面型飽滿,笑盈盈,胖墩墩,眉彎目秀,鼻直口方,以展迎祥納富之意。而在西方,博特羅更將圓碩的體量感推向極致。如在其1998年的經典代表作《野餐》中,一如《洋阿福》,畫中西方女子坐在正中央,圓潤的手臂搭在腿上,予人富饒和樂、生活豐美的想像。東西方的美學歷程在此豐碩的形體上,找到交叉的涵義支點,令吳冠中的《洋阿福》在創作語彙上打破文化的藩籬,成為一種真正世界性(universal)、永恆性(timeless)的藝術結晶。 風姿綽約,愜意自得 《洋阿福》畫中的背景以三道比例均衡的灰、藍、白色塊均分,分別象徵天空、海洋和沙灘,此簡約、極具當代表現手法的背景處理在吳氏的作品中甚為罕見,更令人聯想起美國抽象繪畫巨擘羅斯科(Mark Rothko)筆下那靜默而充滿力量的色塊,呼應了西方抽象表現主義的浪潮,以極簡的繪畫語言襯托出主角活色生香、自娛自樂的人物特點。畫面的細節亦呈現幾何抽象的特徵:女子身上連身泳衣的花紋以多彩的色塊重疊增加,讓形與色的動感呼之欲出,張揚地道出她奔放、享受其中的外放個性。而花紋亦與其腳上的方形紅指甲相映成趣。此亦讓人聯想到吳冠中抽象構圖上的彩點,如藝術家在2001年所作的《朱顏未改》,作品通篇以抽象的彩點為組合,畫面可考本作中女子泳衣的圖樣,然而在《洋阿福》中,吳老以厚實的油彩反復堆疊,以渾厚豐富的肌理碰撞出色彩的交響。正如吳冠中本人所描述:「斷斷續續的點、出沒無常的形、彩色的跳躍與跌落……當她們相互擁抱在同一空間,映入了同一畫面。」女子身上的圖紋除了表現點面之間的形式美之外,更完美融合了西方的抽象藝術概念。在美感上,織物上的彩點疏影橫斜、生趣繽紛,引人走入峇厘島海邊熱情爛漫的海島風情。而天空上幾抹疏淡的粉彩朝同一方向抹去,如偶然飄過的緋霞,詩意地點綴萬里無雲的晴空……悠閒假日,一時愜意無兩! 早在戰國時期,詩人屈原即以「豐肉微骨,調以娛只」來形容女子綽約風姿,爾後,唐玄宗寵妃楊玉環以豐腴之美聞名天下,而才子蘇東坡以「短長肥瘦各有志,玉環肥瘦誰敢憎」形容環肥燕瘦、美感各具,皆自成一格。印證吳氏所言:「藝術創作中,審美的『偏見』倒偏偏是獨特風格之母。偏見由於偏愛,而偏愛則由於發現了別人尚未發現的特色。肥人中有美醜之別,瘦人中也有美醜之別,不肥不瘦而合度呢,也未必就美。美,真是有點邪氣!」其以獨特的偏愛之情,創作出《洋阿福》。畫面滿溢藝術家逾古稀之年筆耕不輟、再攀高峰的自適與喜悅,再窺眼前風姿,真可謂幾分調侃,幾許風流;獨特之外,正是他一生執著的偏愛所在!
EXHIBITED 5 Nov – 2 Dec 1999, Art Exhibition Collection of Wu Guanzhong, National Art Museum of China, Beijing 19 Nov 2021 – 18 May 2022, The Pulse of Modernity- Powerlong Art Exhibition, Powerlong Museum, Shanghai PROVENANCE Important Private Collection, Asia 3 Apr 2016, Sotheby's Hong Kong Spring Auction, Lot 1037 Important Private Collection, Asia Graceful Bearing of an Old Man Dancing Rare 1990s Figure-Themed Masterpiece by Wu Guanzhong “As I look back on my career as a painter, it was in the 1990s that I once again started painting the human form, returning to the dreams of youth, but it is impossible to ever step back into the rushing torrent of the past. Those waters had long since subsided, I was already old, and painted what I saw and thought about, but who wants to see an old man dance?” ——Wu Guanzhong In 1989, Wu Guanzhong held a solo exhibition titled Wu Guanzhong - Kaleidoscope, at the renowned Plum Blossom Gallery in Hong Kong. The splendor of the opening event was unprecedented, all the works sold in 90 minutes and local press reported that a glass door at the venue was broken by excited collectors. Two days later, Wu's The Ruins of Gaochang sold at auction in Hong Kong for HKD$1.87 million, the highest price ever for work by a living Chinese artist at that time. Three years later he became the first living Chinese artist to hold a solo exhibition at the British Museum, in an unprecedented event that surprised the world. As such, by the 1990s Wu Guanzhong's artistic achievements placed him at the very pinnacle of the art profession. The current autumn auction solemnly showcases Ah Fu, a Foreigner, a rare figure-themed work by the artist painted on a trip to Indonesia in 1994. It also represents a very rare instance where Wu painted a foreign woman on a beach in Bali as his model and is the perfect example of a female form from his later creative period. A Rare Figure-Themed Painting “I remember very clearly him on a beach in Bali, he stood out among the crowd of people all wearing bathing costumes. It was also there that he encountered the archetype for ‘Ah Fu, a Foreigner' and I took a photo of them together. He said to me in an excited tone ‘This is a classic example of the voluminous beauty sought out by Maillol and Picasso.” ——Cai Simin (friend of Wu Guanzhong) After 1990, Wu Guanzhong, whose had already entered a period of artistic freedom, refocused on the “human form,” a painting motif he had not touched on for more than 40 years and completed 22 paintings of the female form before his death in 2010. Of these, 18 paintings completed from 1990-1991 focused on skinny young girls in their teens. As such, the “fulsome” figure of the woman in Ah Fu, a Foreigner painted in 1994 marks a clear shift. Moreover, after Ah Fu, Wu went on to paint A Spring (1995), River Bank (2002) and Pink Whirlwind (2008), four works that also depict larger women and should perhaps be considered a series. The latter of these is part of the National Art Museum of China collection, an indication of the artist's satisfaction with the piece and the esteem with which the series is viewed by the art world. If we look back at the artistic career of Wu Guanzhong, the human body was something he learned when he started to study painting, but thereafter political factors ensured he did not paint the human form again. However, while in Indonesia Wu unexpectedly encountered his ideal model. Moreover, although this Western woman was not a teenager and had a fulsome figure, her pretty short hair and gorgeous swimming costume highlighted her confidence in public and general poise to such an extent that Wu immediately very much wanted to paint her. In this way, he sought to break with the traditional Eastern aesthetic of “people being more emaciated than chrysanthemums,” by conveying a different type of beauty defined by size and self-confidence. Connecting East and West, Crafting Voluminous Beauty The woman in the painting sits in the absolute centre of the work and takes up most of the space, which both enhances the size of the figure and echoes the title of the piece Ah Fu, a Foreigner. Wu once commented: “Most Chinese people do not accept the beauty of ridiculed things, but we still appreciate Ni Ah Fu from Wuxi. A few years ago, I encountered a surprisingly fulsome young English woman on a beach in Indonesia, who was the perfect model for the voluminous beauty pursued by the plastic arts. After returning to Beijing, I reproduced this scene in an oil painting and whenever guests with no affinity for Western art visited my home and saw the piece, they found it exciting and curious, so I explained to them that this is a foreign Ah Fu and they understood in their hearts what I meant, and so that is what I chose to call the work. A key feature of modern Western art is to express the capricious nature of feelings and extreme forms. The plump women carved by Maillol are much fatter than Yang Guifei and in fact transcended what is usually meant by ‘fat,' but this is the pursuit of fulsomeness and tension of style, or rather voluminous beauty.” Ah Fu, a Foreigner is the perfect example of voluminous beauty, human spirit and distinctive appearance. Wu Guanzhong believed “voluminous beauty” had existed for many years in both Chinese and Western art: “Westerners have been familiar with voluminous beauty since the 19th century, with Maillol, Picasso and my teacher Jean Souverbie all lovers of such beauty. In fact, even putting aside the stone sculptures at the Huo Qubing tomb or Zhou Fang (730 a.d – 800 a.d.), Chinese folk art has long since produced many outstanding works imbued with voluminous beauty and one classic example is Ni Ah Fu from Wuxi.” If we look at Ni Ah Fu, then since the Ming Dynasty (1368-1644) depictions have been extremely simplistic, with the figure sitting cross-legged, a smile on her face and a roly-poly figure, as an auspicious symbol welcoming good fortunate and luck. In the West, Fernando Botero has taken such chubby rounded voluminous figures to the extreme. Indeed, his 1998 classic Picnic shares many features in common with Ah Fu, a Foreigner. It has a Western woman sat in the middle of the scene, her round chubby arms resting on her legs, imbuing life with greater imagination. It is in this fulsome body that Wu identifies an intersection point between Eastern and Western aesthetics. In other words, in terms of vocabulary Wu Guanzhong's Ah Fu, a Foreigner breaks down cultural barriers, making it a truly universal and timeless artistic crystallization. Graceful Bearing, Comfortable in Her Own Skin The background in Ah Fu, a Foreigner is made up of three proportionally balanced strips of grey, blue and white, symbolizing, the sky, ocean and beach that bring to mind the silent coloured blocks overflowing with strength by American abstract painting master Mark Rothko, the simple painting language highlighting the self-amusement aspect of the work. Moreover, the details of the piece are also geometrically abstract; The floral pattern on the full body swimming costume worn by the woman is made up of multiple repeated multicoloured blocks, with the dynamism of form and colour vividly portrayed, speaking to the bold and unrestrained character of the woman. The floral pattern also creates an intriguing contrast with her square-shaped red toenails which are reminiscent of the coloured dots Wu Guanzhong uses in his abstract compositions. For example, the abstract coloured-dots in Faces Unchanged (2001) are comparable to the colours of the woman's swimming costume in Ah Fu and perfectly combine Western abstract art concepts. In terms of aesthetic feel, the coloured dots on the fabric are fun and colourful, drawing viewers into the passionate and colourful island scene on a beach in Bali. The two dashes of thin and distant pastel colours in the sky are painted in the same direction, like pink clouds as the sun sets that have floated into place to poetically adorn the boundless and otherwise cloudless sky. As Wu Guanzhong once observed: “In artistic creation aesthetic ‘preconceptions' are invariably the mother of unique style. Preconceptions come about because certain things are favored, and things are favored because one discovers features no one else has found. There are beautiful and ugly fat people just as there are thin people. An individual might be neither fat nor thin but just right, but that does not necessarily make them beautiful. Beauty it turns out is a little perverse.” Indeed, it was Wu's unique preference that led him to paint Ah Fu, a Foreigner. This work brims with the self-adaptation and joy of an artist scaling new heights after the age of 70. If we look again at the graceful bearing presented in the painting, it is perhaps part challenging perceived standards, part romantic. Other than the unique nature of the work, it is also a testament to the artist's life of stubborn preferences.

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