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唐蘊玉 Tang Yunyu 1906 – 1992 學習小組 Study Group
香港
2024年04月07日 开拍 / 2024年04月05日 截止委托
拍品描述
油彩 畫布
Oil on canvas
80.5 × 100 cm. 31 3/4 × 39 3/8 in.

來源 原亞洲私人藏家直接得自藝術家家屬 2006年12月3日,上海嘉泰秋季拍賣會,拍品編號1092 現亞洲私人藏家直接購自上述來源 為新中國造像 唐蘊玉臻絕大尺幅油畫精品現身 「畫的成功,當然以取材、色調、結構為根本,我尤感覺到繪畫的色調,可以表示各人的個性……我不敢說用了夏凡納(Pierre Puvis de Chavannes)的色調,就可以說好,這也是我個性的趨向罷了。至於其他畫家,都有個人的生命存在裡面。」 ——唐蘊玉 回顧1920年代的民國時期,有一批女性藝術家,她們身著旗袍、留學海外,帶著東方女性的溫婉和超前的獨立思想,站在時代的浪尖,以獨我的胸襟擁抱最前衛、最熱烈的藝術革新。在其中,與名門閨秀關紫蘭、中國傳奇女大師潘玉良、蔡元培之女蔡威廉齊名為上海「油畫四女傑」的唐蘊玉,便是一位如珍珠般閃耀畫壇、被譽為「寫盡胸中靈氣來,無雙立壑幾青天」的一代江南才女和現代藝術先鋒。 縴手推君第一人! 1906年唐蘊玉出生於江蘇吳江,在上海神州女子學校美術科西畫系求學期間曾師從陳抱一、王濟遠、關良、李超士等名家,1920年畢業後長居上海,任教啟秀女學。彼時的她年方二十,如新星般冉冉上升於藝壇:22歲便舉辦個人畫展,其油畫作品《蘇州之街》、《虎丘》、《靜物》獲選「第一屆全國美展」,彼時《婦女》雜誌特闢專欄報道,稱讚她為「與潘玉良女士相伯仲」。此外,她並積極投身上海西畫團體「藝苑繪畫研究所」,與張大千、潘天壽、王濟遠、汪亞塵,共同舉辦參加「藝苑」美展,更撰寫刊登《寸感》一文,闡述自我對西方藝術的思考。除卻在國內的亮眼成就,唐蘊玉亦在海外大放異彩:1926年,她作為江蘇省特派赴日考察藝術教育委員東渡日本,接觸到印象派畫風的薰陶,作品入選東京展覽會;1930年又赴法國國立巴黎美術學院學習,留法期間,其作入選巴黎重要的藝文大展:春季沙龍、秋季沙龍和杜樂麗沙龍,足見其優異程度。而事實上,在中國現代美術史中,具日本和歐洲雙重留學背景的藝術家並不多見,唐蘊玉即是當中的佼佼者,這一特出的經歷亦促成了她淡泊清新、以印象派基調融入表現主義抒情語彙的獨特個人畫風。而自1936年,她展開在歐洲遊歷諸國的旅程,積累了大量西方藝術史的學識,後於1941年返回上海,在上海新華藝術專科學校、上海美術專科學校任教。而在1947年,其於上海商界四大公司之一的大新公司舉辦個展,該年關良、李鐵夫、趙無極先後在該地舉辦個展,而在5月的盛事便是「唐蘊玉油畫展」,共亮相百餘幅作品,參展人士絡繹不絕,成為當時的盛事佳話,足以想見唐蘊玉在彼時藝壇的攝人影響力。 以藝言志,一展對社會主義的歌頌 1949年新中國成立後,唐蘊玉先後在上海向明中學、建春女子中學、長樂中學任教。隨著50年代國家建設的快速興起,積極響應號召的上海畫家們,亦深入工廠、農村、礦山去體驗生活,將目光投向社會。此般「服務人民,歌頌勞動」的現實主義主旋律,亦深深影響了唐蘊玉的創作,一系列表現勞動人民生活之作就此誕生。是次春拍所呈現的《學習小組》(拍品編號61)、《搬運石頭》(拍品編號62),便為該時期極其珍貴之重要代表作。 唐蘊玉一生多以風景、花卉主題作為主要表現對象,人物主題之作亦側重「肖像」,故而其表現「群像」、具敘事色彩的畫作,僅有50年代針對解放後新中國的社會面貌而作的極少量油畫,據考據僅只4件,分別為《課堂》、《農閒》,與是次上拍的《學習小組》和《搬運石頭》,兩件作品均出自藝術家家屬珍藏,來源有序,珍罕難尋。《學習小組》更為目前已知唐蘊玉畢生最大尺幅的油畫作品,在彼時側重純寫實風格的藝術氣氛中,此作難得地在寫實的基礎上,結合印象派和浪漫主義的表現,與唐氏一貫的雅麗風格一脈相承,可謂其「以藝言志」的重要時代創作。而另一件完成於1951年的《搬運石頭》以農作的現實主義承接中西形式融合的藝術理念,右下並有落款「蘊」字與年代,足見藝術家的重視。值得一提的是,畫背並貼有「全國美術展覽會華東作品觀摩會」之展覽標籤,這不僅代表作品獲入選「全國美展」的殊榮,亦反應唐蘊玉彼時備受認可的藝術地位。 「學而時習之」的時代青年面貌 畢生最大尺幅油畫《學習小組》 唐蘊玉受西畫影響強烈,其表現形式帶有印象派的寫生基調、浪漫主義的抒情,同時亦不忘注重西畫的中國化,其筆觸酣暢,設色清新淡雅,充滿生活情韻,而無嬌柔之感。大尺幅的群像油畫《學習小組》即為精彩一例。作品以一批有志青年為主角,表現他們求知若渴、互助學習的上進精神。畫面構圖大膽創新,既有左側半戶外與室內的結合,又有右側罕見的「畫中畫」形式,足見唐蘊玉極為突出的造景思考和表現功力。畫中八人,四男四女,分佈在前中後三景,正中以鋼筆奮筆疾書的女孩為核心,其餘人物環繞而立,左方著紅領巾的男孩手持小開本,身側粉衣女孩專注凝視,而背向的兩者正熱烈討論,展現出團隊學習的熱情。畫中的女孩皆留有當時代表進步思想的齊耳短髮,身著和男子一樣的長衫長褲,顯示出藝術家對「時代人物塑造」的關注。而在此基礎上,作品巧妙結合了室內外的風景,透過欄杆的描繪,令畫中青年皆沐浴在戶外光下,加強了對他們具有好學品質的「光輝性」暗示。而背景的男子正向外遙望,進一步加強內外空間的穿透與連結,並巧妙地引導觀眾的視線移向戶外天際飄揚的紅旗,指涉著「學習」與「愛國」之間的連接點。此外,畫作右側可見另兩位青年,正專心致志地觀賞牆上的畫作,形成「畫中畫」的巧思。畫作風格具塞尚後印象派的風采,表現著農務勞作的生活場景,帶有米勒(Jean-Fran?ois Millet)《播種者》的強烈現實主義情懷。作品不僅將印象派的外光表現融入畫作,同時也以趨於立體幾何的表現手法呈現「畫中之畫」,加上「學而時習之」的寫實基調、現代思想覺醒的精神,極為綜合地呈現了唐蘊玉對中西現代藝術融匯貫通的高度,一展時代青年的真摯性格,不啻為一獨具時代意義的重要代表作。 「恪勤在朝夕」的勞作精神 致敬現實主義經典之作《搬運石頭》 「在20世紀第一代油畫名家筆下,多有反映新中國社會變遷的主題性創作。在他們經歷時代變化的過程中,其作品中的時代氣息和人民形象,也發生著相應的體現。其中江南水鄉、建設工地、工廠場景、城市景象、居家一隅、花草瓜果等形象造化,構成了『為新中國造像』的生動圖像,寄託了歌頌祖國、服務人民的藝術理想,呈現了獨特的新時代烙印。」 ——上海大學藝術研究教授李超 另一件完成於1951年的《搬運石頭》,同樣以建設工程的社會語境為主題,著眼於「搬石頭」看似再平凡不過的勞動內容,實則別具意義:一方面,作品遙遙致敬西方藝術史上現實主義的開篇名作——庫爾貝(Gustave Courbet)的《採石工人》,另一方面,也以全新視角去詮釋「為新中國造像」的現實主義命題。有別於庫爾貝對階級關係的批判,此作採用豎式構圖,去呈現畫中搬石人頂天立地、吃苦耐勞的漢子形象。從其穿著、面容推測,畫中主角應非農民,而是到工廠去實踐、勞作的社會青年。畫作將休息中的採石工人置於中景一側,暗指其並未如過去般受地主階級壓榨,而是在社會主義建設中獲得勞逸結合的喜樂。頭披布巾的農婦回頭看向青年,形成三人間視線的閉環。主角青年神色專注,挽起袖子,正一絲不苟地手捧滿載碎石塊的竹籃,穩重地向前邁步。而青年的身體與竹籃恰形成一個穩定的三角形,唐蘊玉在此特以較為粗實、帶有幾何感的線條去打造畫中人的輪廓,加深他勤勤懇懇的形象,並強化石塊和竹簍一方一圓的造型,凸顯其沉重,和青年對此事的鄭重。而背景中天空中的一絲藍彩,反襯出礦區灰塵撲撲的環境,並加添了寫實的情味。刻意鋪展的灰調色彩展現唐氏含蓄內斂的獨特氣質,作品亦以外光烘托出對自由的憧憬,展現新時代建設的發展和對工農勞作「恪勤在朝夕」的矜矜業業,充滿對未來願景的期盼。 在主體化寫實的基礎結構上,唐蘊玉以飽含寫意的筆調,令藝術史中的西方寫實主義和東方現實主義產生碰撞,溫婉含蓄的色調與具強勁表現力的筆觸在此交織,讓平凡的生活場面得以在東方的韻味、西方的形式中,開拓出明朗恬和的畫境,返還出濃厚的時代氣息,而她,則以自身的「淡泊之蘊」,在歷史中緩緩寫下那餘韻悠長的女性風華!
PROVENANCE Acquired directly by original private Asian collector from the artist’s family 3 Dec 2006, Jiatai Shanghai Autumn Auction, Lot 1092 Acquired directly by present private Asian collector from the above Creating Images for a New China Tang Yunyu’s Rare and Large-Scale Oil Paintings? Born in 1906 in Jiangsu, Wujiang Provence, Tang Yunyu studied Western Painting at Shanghai Shenzhou Women College in 1920. Upon graduation, Tang resided in Shanghai. At a young age of 20, Tang’s artistic practice flourished rapidly, to which? she established her own solo exhibition at 22 years old. Paintings such as Street of Suzhou, Tiger’s Nest, and Still Life were nominated at The First National Exhibition of Fine Arts. In addition,?Women of China magazine even praised Tang’s art as that of the iconic Pan Yuliang. Tang Yunyu’s involvement in the arts extended to her commitment to The Painting Research Institute, a Western Non-profit organization. In her published article titled Sense of Propriety, Tang discussed and reflected the ideology and impact of Western Art. Her pioneering methodology and reflection not only fostered her reputation and success in China, but also on a global scale. In 1926, Tang arrived in Tokyo, Japan as a Jiangsu province representative to study art education and methodology, to which one of her paintings was selected to exhibit at The Tokyo Exhibition. Following, Tang traveled to Paris and enrolled at école Nationale des Beaux-Arts. Her prolific works were selected for the Spring Salon, the Fall Salon, and the Duloré Salon, which is a strong testament to her excellence early on. Across the history of Chinese Contemporary Art, only a handful of artists, including Tang, had academic training and background from Japan and Europe. Indeed, foundational study of abstraction and layered brushwork of Impressionism enriched Tang Yunyu’s visual vocabulary and developed her idiosyncratic style and palette. Soon, the integration of Eastern and Western training is pivotal to her refreshing and renowned signature. In 1947, The Sun, one of the largest Commercial company in Shanghai organized many solo exhibitions, to which artist such as Guan Liang, Li Tiefu, and Zao Wou-Ki each held solo exhibition, later followed by Tang Yunyu’s Oil Painting Exhibition in May of that year. Exhibiting over 100 works, the site was fully packed with a strong ambience. Such a great turnout was a clear indication of the influence and success of Tang Yunyu’s status in the art world. A Celebration of Socialism through Art Looking at Tang Yunyu’s prolific oeuvre, landscape and flowers are constant motifs in her collection of works. Vibrant colours and detailed composition represents a close-knitted community with human interactions, characteristic and personality. In spirited sceneries, the abundance of flowers and landscape even mimics the lively interaction of group portraitures as well. These dynamic paintings of community representation are indeed a reflection of a new society, a New China specifically, after the rise of the Chinese Revolution in the 50’s. As historical provenance reflected a mere 4 paintings at site, each painting is an excellent collection opportunity. As record shows, artworks titled Classroom, Leisure Farming, Study Group (Lot 61) and Moving the Rocks (Lot 62) are listed in her oeuvre. The latter two will be auctioned in our upcoming season, with an inclusion of collection provenance from the artist estate collection. Amongst the four, Study Group is the largest oil painting by Tang. In a soft colour palette, the artist painted rosy-pink individuals in realistic scenery. The short and layered brushwork illustrates a huddled group around the desk, with two individuals by the right admiring a loose brushwork painting. As a whole, the busy environment further emphasized the integration of Impressionism and Romanticism. The overall warm hues and blended community supports Tang’s elegant and consistent style, and surely became an iconic painting of Tang Yunyu collection, to which the artist gracefully transforms Chinese Art history by expressing her words and thoughts through art itself. Another iconic work of Tang, Moving the Rocks, completed in 1951 depicts a realistic farm life. With a man carrying rocks as the protagonist, the painting introduces the integration of Chinese and Western methodology of painting. On the lower right, it is signed "Yun" and dated. This indicates the value and importance of the piece. In addition, on the verso of the painting is labeled "The National Art Exhibition of East China". This important exhibition label not only represents the value and rarity of the work being selected for the National Art Exhibition, but also Tang Yunyu’s talent and recognition since the early rise of her artistic journey. Learning by Doing - the Forefront of the Young Era Study Group, the Largest Oil Painting by Tang Yunyu The methodology and development of Western Art has always been a strong influence in Tang Yunyu’s artistic journey. Under its influence, Tang’s expression entails foundational groundwork seen in Impressionism, with tones of Romanticism in portraying emotions and gestures. While study of the West was fundamental to her development, she also paid close attention to the integration of Chinese Contemporary Art in the West. The study and balance of the two cultures colliding on canvases offers a smooth combination of brushworks, a refreshing composition and colour palette. As seen in Study Group, the large scale painting utilizes a group of youngsters as the protagonists. They stand around the desk, with the individual seated at the desk writing in concentration becomes a sight of focus. All gazing at the individual with patience, the scenery provides context of a thirst for knowledge and the desire for mutual learning. With 8 individuals in sight, 4 men and 4 women, Tang positions them in the front, middle and back, with the woman writing as the centre. On the left, the young male with red scarf holds a small book, while the young woman in a pink dress gazes at it attentively. Opposite this pair are two other young women, with their backs to the viewers. Their gesture suggests a lively discussion that entails the enthusiasm of learning. As this painting signifies the transformative period of the rise of the gender equality, it is noted through the consistent hairstyle of the women, in short, ear-length hairstyle. Meanwhile, women’s long shirts and trousers like men demonstrates the artist’s concern for an appropriate way to depict contemporary in society through her range of characters. In Study Group, the inclusion of interior and exterior landscape is skillfully presented. Railings by the left shows several young men under the morning light, a symbolic sign of valued academic quantities. Acting as a lookout, the viewers attention also points to the red flag flying in the skyline, an indication and connection between learning and patriotism. In addition, on the right side of the work, two other young men can be seen intently looking at a painting on the wall. This droste effect illustrated in Tang Yunyu’s work signifies her appropriation of a mise en scene technique, which reflects a wise visual and ideology of? "a painting within a painting". Indeed, the style conveys Cézanne’s Post-Impressionism, depicting a life of farming and labour, with the strong realism of Jean-Fran?ois Millet’s The Sower. The painting not only incorporates Impressionism’s iconoclasm of light in paintings, but also presents "paintings within paintings" with a tendency to three-dimensional geometry, coupled with the realistic tone of "learning by doing", as well as the spirit of awakening of the mind. The combination of these pioneering ideologies clearly shows Tang Yunyu’s superior and seamless integration of Chinese and Western modern art. The Spirit of Labour in Day and Night Moving the Rocks - an Homage to Realism Completed in 1951, Moving the Rocks takes the social context and mundane task of construction as its motif. Through a simple task of moving stones, the protagonist in the foreground signifies a two-folded meaning at hand. First, it pays homage to Gustave Courbet’s The Stone Breakers, the first works of Realism in the history of Western art. Second, the labour and hardworking spirit of the workers can be seen as a Realist proposition of making statues for the New China. In comparison with Coubet’s stone carriers, Moving the Rocks illustrates a vertical composition. With a singular point of focus, it shows an imagery of rock carriers as upright, hardworking men. From the protagonist’s clothes and visual cues, it infers the man as someone who works at a factory. By the left, Tang positions 2 resting quarrymen, which implies the protagonist is not subjected to the oppression of the landlord class like the past indicates. In this New China, the protagonist, a young man, rolls up his sleeves and holds a bamboo basket full of broken stones. His body forms a stable gesture against the form of the basket. These objects and lines emphasize Tang’s effort in using geometric shapes to create an illusion of a muscular man at sight. Presenting as a hard-worker, the heavy weight of the stones in the bamboo basket conveys the serious commitment of the young man. In the background, hints of blue in the sky suggest a dusty environment of the mining area, which adds to the realistic ambience of real life. In areas of white, grey tones can be seen as undertones, which hints at Tang’s distinctive subtle and restrained temperament. She longs for actual freedom, which is highlighted by light radiating from the left. As a whole scenery, the labourers’ day and night efforts, diligence, and earnestness are key representations of a New China, a celebration and prediction of a strong and revolutionary nation!

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价格信息

拍品估价:300,000 - 400,000 港币 起拍价格:300,000 港币  买家佣金:
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20,000,000 - 以上 14.00%

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