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吳作人 Wu Zuoren 1908 – 1997 芍藥 Peony
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 木板
Oil on board
一九五〇年作
Painted in 1950
36 × 46 cm. 14 1/8 × 18 1/8 in.
款識 作人 50(右下)
Signed in Chinese and dated on bottom right
展覽 2009年6月26日至7月26日,「吳作人個展」,索卡藝術,北京 2009年8月25日至9月20日,「滄浪遊藝——蘇州美專紀念展」,索卡藝術,北京 來源 原藏家直接獲贈自藝術家本人 2004年11月7日,北京華辰秋季拍賣會,拍品編號1051 亞洲重要私人收藏 藝心作人,不朽精粹 吳作人力與美的無上讚歌 「藝術既為心靈的反映,思想的表現,無文字的語言,藝術是『入世』的,是『時代』的,是能使人理解的。大眾能理解者,方為不朽之作。」 ——吳作人 吳作人是中國20世紀美術事業開拓之路的重要參與者和推動人,也是新中國成立後,在油畫和水墨雙重領域具承前啟後關鍵地位的代表人物。他自1949年後一路歷任中央美術學院油畫系教授、教務長、副院長,達至至高的院長之位,1985年出任中國美術家協會主席,地位卓著。作品為北京中國美術館、中國國家博物館等國家機構收藏。而其早年留學法國和比利時更蜚聲海外,在1984年法國文化部授予他「藝術和文學最高勳章」,隔年獲比利時「王冠級榮譽主席勳章」,8年後再得法國國家藝術學會之「最傑出中國畫家作品特別獎」,盛名在外。其於美學教育和藝術創作上的傑出成就和貢獻,與其時代經歷息息相關,可以說,吳作人的藝術人生代表了一個時代的探索和積累。 藝為人生的時代大觀 1908年出生江蘇蘇州的他,祖父為本地著名畫師。因幼年失怙,家境清貧,小學三年級便失學的吳作人長年於家中閣樓自學,一次無意間發現了祖父留下的畫箱,裡面的礦物顏料、畫碟、筆洗和文房四寶一下吸引了他,令其對藝術產生濃厚的興趣。1927年他考入上海藝術大學美術系。隔年進入由田漢、徐悲鴻創辦的南國藝術學院就學,同年秋轉入南京中央大學徐悲鴻工作室旁聽。1930年,在徐氏的鼓勵下,他先後入巴黎美術學校和比利時布魯塞爾皇家美術學院學習。於1935年學成歸國後,他曾任教於南京中央大學、國立北平藝專,並加入「中國美術會」,懷著極大的熱情投入祖國的美術教育和抗戰事業中。 1940年代他兩度西行川藏、考察敦煌壁畫,新中國成立後,更踏遍祖國山河,將油彩和水墨表現再度昇華,提煉民族氣象,以此譜寫新時代的中華美學。他一生貫徹「法由我變,藝為人生」的思想,並在長期的教學和創作中總結出人生觀上「無我」、藝術觀上「有我」的時代思想。正如他1935年寫下的《藝術與中國社會》:「要到社會中去認識社會,在自然中找自然。是自然之微奧、偉大,紛雜於萬象之中而隱沒,藉藝人之心再映,?方顯其美和其力。」 是次拍賣我們榮譽呈現吳作人展現「其美」的《芍藥》(拍品編號59)、「其力」的《裸女背影》(拍品編號60)。兩件作品完成於其油畫達爐火純青的1950年代,見證他承古今東西,融會貫通、以氣質勝人的藝術表達。作品來源有序,《裸女背影》出自藝術家家屬舊藏,而《芍藥》由原藏家直接獲贈自藝術家本人,二作距上回現身拍場已逾二十年,於今聚首共呈,臻絕難得。 入細通靈,人體的詩性之美 「人體畫」是吳作人最擅長的主題之一,1931年留學比利時皇家藝術學院時,年僅23歲的他,便憑藉一幅《男人體》油畫獲學院金質獎章和桂冠生的殊榮,此為該學院最高榮譽,此後他開始反復以人體為對象創作,誕生了《縴夫》、《坐女人體》、《臨庫爾貝〈泉〉》等傑作。而得益於這段留學北歐的經歷,他經常以強烈的深冷背景去反襯帶有暖光的主體人物,帶有文藝復興時期的明暗對照法(chiaroscuro)的特點,此與彼時流行於中國的蘇聯體系灰色調大相逕庭、別樹一幟。1950年代後,其油畫創作邁入了成熟的巔峰時期,此皆因彼時他遊歷山河、四處寫生,面對蓬勃遼闊的疆土生發了抒情式的創造,亦使其人體畫也更具詩性風範,誕生於1950年代的《裸女背影》,正展現他「入細通靈,筆簡意周」的精妙手筆。 珠璣玉石,著心著力 吳作人極為重視素描造型基礎和藝術的概括力,他認為,唯有通過提煉和取捨,才能將真率的感情、嚴謹的造型以及對生活深刻的洞察合而為一。其創作技法更流露著一種自然的東方情味。得益於長年創作水墨的習慣,他的油畫筆調具有寫意的鬆快感,大筆觸收放自如,一展渾然天成的美意。此外,有別於西方學院派中過於追求完美、精心雕琢的人體造型、展現強烈骨骼和肌理的表現,吳作人在此作中以恣意的大筆觸,真實地還原了畫中女子具生活感的體態,以及帶著生機、回首側望的神情。而因女子身體的肌肉感並不強烈,他在人物身軀的不同肌肉面上刻意做出微妙的模糊處理,前筆與後筆融接在一起,富有生動美,以用筆的精妙結合,展現對東西藝術精神的深度表達。 而更為精彩的,是他在背景和中心處充分把握「光影、色彩和人體結構」的巧妙關係,將主角與不同的背景塊面進行銜接,從而強化「光的動態」。如其於人物高光中心的左臂和臉龐,由一塊深褐色的布料作出反襯,而在陰影中的右側身體,則以淺色背景作為銜接,從而強化了左側的光線走勢。隨著光源向下流淌,模特兒倚靠的白布亦相應垂下,作出光點上的呼應,將高光置於手臂的平行一側。他把倫勃朗(Rembrandt)、維米爾(Johannes Vermeer)等荷蘭黃金時代巨匠所採用的強烈對比為其所用,並在此基礎上,將之演繹為多重的塊面綜合。作品中,可見多達五種布料的鋪排使用:地毯、畫布、桌布、遮光布、披巾,而當中的質地、色彩、光影的差異,如同對應著人體不同部位在光源下的差異,如臉頰、手腕、手肘、臀部,加入輕微的紅色;相比足部、小腿和臉部的深重,身軀更白皙;而光源連接處,則以帶灰調的綠色打上陰影,將冷暖色的細微差異充分融入,從而深化了整體造型,令主角脫穎而出,如珠璣寶石般潤澤奪目,展現著人體美的真實力量。吳作人在動態天然中,把獨屬女性的詩意曼妙以最自然、最親切的視覺表現凝結於此,寫進了中國藝術史中。 伉儷深情,芍藥的真情花語 而完成於1950年的《芍藥》,為吳作人畢生創作中,據考據僅有7件的經典「芍藥花」主題之作,此亦為其瓶花作品中數量最多、出現最頻繁的花卉類別,不僅為其鍾情鍾愛,更別具要義。在創作此件《芍藥》兩年前的1948年,吳作人與藝術家蕭淑芳成婚。出生書香門第的蕭淑芳,在繪畫上頗有成就,其花卉主題創作更是風格高雅動人,當中便有「芍藥」畫題。其與吳作人相識於1928年的青年學生歲月,經歷16年各自的人世沉浮後,二人於1946年的畫展上再度重逢,後而結為連理,在藝術上琴瑟和鳴,互相啟發,在生活上相濡以沫,相伴終生。芍藥的花語為「真誠不變」,正代表了二人間的愛情。吳作人或以此作表達和妻子之間的伉儷深情,令人動容。 富貴自來有,屹立即天資 畫中的芍藥花,以高雅脫俗的姿態盛放在靛青色的天球瓶中,正展現芙蓉芍藥「富貴自來有,屹立即天資」的獨特風韻。藝術家特選取一背光的角度,將陰影前置,令花朵彷彿自帶光源,自花蕊中心而盈亮整片靜室。此正與吳作人留歐時期,精研弗拉芒畫派(Flemish School)的經歷息息相關。他以暗棕色背景作襯,有意識地將畫面以一種古典的暖調呈現,並加強冷暖色階和頂光效果的對比、弱化花與葉、花與瓶之間的對比,從而呈現結構性的統一。如見桌面的水平線與橫向的綠枝呼應,球形的花瓶與圓狀的白色芍藥花朵構成對照,正展現出古典靜物的「高度均衡感」。而在筆法上,他跳脫了傳統靜物寫實的逼真之細,以帶有「傳神寫意」的技巧,在鬆動、自然、具水墨般流動的筆勢中,吐露出淡淡的東方美,將一種無限的內在精神力量凝結在這恬適清麗的花色中。作品將芍藥花「富貴而美麗」的氣質,以明媚又清麗、怒放中帶含蓄的獨特方式展現,獨具格調。 芍藥芳菲的靈氣在筆觸間生發,寄寓著吳、蕭伉儷比翼連枝的真情,如玉石般玲瓏的人體,更道盡他對真、善、美的頌歌,在這充滿力與美的詩意畫面中,流淌著吳作人在油畫語言的渾然天成和中國式詩情的藝術大境,更凝結著他一生美學的不朽精粹!
EXHIBITED 26 Jun – 26 Jul 2009, Wu Zuoren Solo Exhibition, Soka Art, Beijing 25 Aug – 20 Sep 2009, Selective Exhibition of Ecole des Beaux – Arts de SOOCHOW, Soka Art, Beijing PROVENANCE Received as a gift directly by original collector from the artist 7 Nov 2004, Huachen Beijing Autumn Auction, Lot 1051 Important Private Collection, Asia Artistic Integrity, Eternal Essence Wu Zuoren’s Supreme Hymn to Strength and Beauty Wu Zuoren stands as a pivotal figure in the development of China’s 20th-century art scene, actively contributing to its expansion and serving as a key advocate. He is widely regarded as a leading figure in both oil painting and ink wash fields following the founding of the People’s Republic of China, embodying a significant role in fostering their advancement. Since 1949, he has held various positions at the Central Academy of Fine Arts, including professor, dean of the oil painting department, vice president, and ultimately serving as the esteemed dean. In 1985, he was appointed as the Chairman of the China Artists Association, cementing his distinguished stature in the art community. His works are collected by national institutions such as the National Art Museum of China and the National Museum of China in Beijing. In his formative years, studying in France and Belgium earned him widespread recognition. In 1984, he was bestowed with the prestigious "Ordre des Arts et des Lettres" by the French Ministry of Culture, followed by the esteemed "Crown Level Medal of Honour" by the King of Belgium the following year. Eight years later, he was honored with the "the French Literature and Arts Medal of Honour" by the French Ministry of Culture, enhancing his illustrious reputation internationally. Throughout his lifetime, he embodied the philosophy of "adapting laws to suit oneself, with art as the essence of life". Through extensive teaching and creative pursuits, he distilled a philosophical outlook emphasizing "selflessness" in life and "individuality" in art, reflecting the zeitgeist of the times. In the upcoming sale, we take great pride in presenting Wu Zuoren’s exquisite portrayal of "beauty" in his work Peony (Lot 59) and the embodiment of "strength" in Nude (Lot 60). Both artworks were masterfully crafted during the artist’s zenith in the 1950s, showcasing his ability to draw inspiration from both the past and present, and to express it with unparalleled sophistication. The provenance of the works is well-documented. Nude comes from the private collection of the artist’s family, last seen at auction 25 years ago. Meanwhile, Peony was directly gifted by the artist to its original collector, and it has been over two decades since its last public appearance. Their reunion in this auction is a rare and extraordinary event. Exploring Intricacies, the Poetic Beauty of the Human Body "Figure painting" is one of Wu Zuoren’s areas of expertise. In 1931, while studying at the Royal Academy of Fine Arts in Belgium as a foreign student at the age of just 23, he garnered the highest accolades of the academy with his oil painting titled Male Body, earning him both the Gold Medal and the laurel wreath of excellence. This was the highest honor bestowed by the academy. Subsequently, he delved deeper into portraying the human body, producing remarkable works such as Boat Trackers, Back Setting Nude and After Courbet’s ‘Spring’. Drawing from his experiences in Northern Europe, he skillfully juxtaposed the radiant warmth of his subjects against the stark, icy backdrop, employing chiaroscuro techniques reminiscent of the Renaissance era. This approach set him apart from the Soviet-influenced grayscale aesthetics prevalent in China at that time, establishing his unique artistic identity. In the 1950s, Wu Zuoren’s artistic prowess reached its zenith. His extensive travels and immersive sketching expeditions across vast landscapes inspired a lyrical quality in his creations. This also imbues his figure paintings with a more poetic demeanor. Notably, the creation of Nude during this period exemplifies his exquisite craftsmanship, showcasing his ability to convey "intricate details with simplicity and profound significance". Radiant Pearls and Gleaming Jade, Infused with Dedication and Passion Diverging from the Western academic tradition’s pursuit of perfection and meticulous refinement, Wu Zuoren’s approach in this masterpiece diverges. Through bold brushstrokes, he faithfully captures the woman in the painting with a sense of vitality, portraying her full-bodied figure and the expression of looking back and glancing sideways. Drawing upon the bold contrasts characteristic of Dutch Golden Age masters like Rembrandt and Vermeer, Wu Zuoren employs them in a multifaceted integration. In the artwork, one can observe the utilization of up to five different types of fabrics meticulously arranged: carpet, canvas, tablecloth, shading cloth, and shawl. The nuanced differences in texture, colour, and play of light and shadow mirror the variations observed in different parts of the human body under various light sources——such as cheeks, wrists, elbows, and buttocks——accentuated with subtle hints of red. The paler tones of the torso contrast with deeper hues on the feet, calves, and face, while shadows at light source junctions are rendered with a grayish-green hue, seamlessly blending warm and cool colours. The result is a protagonist gleaming like precious gems, embodying the authentic power of human beauty. Within the dynamic natural setting, Wu Zuoren deftly encapsulates the poetic and graceful essence unique to women through the most natural and intimate visual expression, thereby etching his contribution into the annals of Chinese art history. A Tale of Profound Devotion, the Heartfelt Message of Peonies Crafted in 1950, Peony stands as one of Wu Zuoren’s timeless masterpieces, with only seven known to exist throughout his illustrious career. Among his oeuvre, peonies hold a special significance, appearing most frequently and abundantly. This particular work not only reflects his fondness and attachment but also carries profound meanings. Two years before creating Peony in 1948, Wu Zuoren married the esteemed artist Xiao Shufang. Hailing from an intellectual family, Xiao Shufang herself excelled in painting, particularly in elegantly capturing floral themes, including the beloved "peony". Their bond traces back to their youthful days in 1928, and after 16 years of separate journeys, they reunited at an art exhibition in 1946. Their union, marked by mutual inspiration and unwavering support, became a harmonious lifelong partnership. Peonies, symbolizing "unwavering sincerity", beautifully encapsulate the enduring love shared between the couple. It is conceivable that Wu Zuoren used this artwork to convey the profound affection between him and his wife, a sentiment that undoubtedly resonates deeply with viewers. Wealth and Nobility Naturally Arise, Standing Tall as Inherent Gifts In the painting, the peony flower blooms with elegance and transcendent beauty within an indigo celestial vase. The artist skillfully employs backlighting, strategically placing shadows to create the illusion of self-illumination emanating from the flower’s core, casting a luminous glow across the serene chamber. This technique reflects Wu Zuoren’s study of the Flemish School during his time in Europe. Deliberately using a dark brown backdrop, he infuses the composition with a classical warm tone, accentuating the contrast between warm and cool hues and highlighting the top lighting effect while softening the distinction between flowers, leaves, and vase, achieving a harmonious structural unity. For instance, the horizontal line of the tabletop resonates with the horizontal green branches, while the spherical flower vase juxtaposes the circular white peony blooms, epitomizing a profound sense of "heightened equilibrium" typical of classical still life. In terms of brushwork, he transcends the hyperrealistic details of traditional still life, employing a technique imbued with "expressive realism", characterized by loose, natural, and ink-like flowing strokes. Through this approach, he unveils a subtle Eastern beauty, encapsulating an infinite inner spiritual power within the delicate hues of the flowers. The artwork masterfully presents the peony flower’s innate qualities of "wealth, nobility and beauty" in a unique and graceful manner, radiating with brilliance, serenity, and restrained elegance, thereby embodying a distinctive style.

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拍品估价:700,000 - 1,000,000 港币 起拍价格:700,000 港币  买家佣金:
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