細節
羅中立
親情
油彩 畫布
1984年作
簽名︰中立

來源
美國 加州 Fingerhut Gallery of Carmel
現藏者購自上述畫廊


羅中立回憶其創作來源曾表示,老實的農民總是吃虧,他要為這些被忽視的農民吶喊。就是這些深刻的個人體驗,以及對人性的關懷,賦予其作品豐富的情感。羅氏以精緻、周到、一絲不苟的手法,把苦澀凝重的農民生活深刻地表現,羅中立成名作《父親》就是這樣表現了人的沉重感。
羅中立目前的創作大致可分為三個階段,第一個階段就是從《父親》開始,藝術家用高超的照像寫實主義技法,將農民的疾苦表現出來。《西藏人物》(Lot 1398)及《西藏人物》(Lot 1397) 是這時期的代表,與《父親》一樣顛覆了自1949年共產黨影響下的中國寫實繪畫。兩幅農民肖像畫毫無保留地表現了粗糙、黝黑、乾燥的皮膚,臉上一道一道交錯的皺紋。這些歲月和勞動的痕跡與炯炯有神的雙目成強烈對比。羅氏筆下的農民雖是樸實、粗獷,卻散發出永不放棄的堅毅精神。歲月雖改變了外在的身軀,卻磨滅不了心靈的力量。從農民身穿整齊的民族服飾,可見藝術家對這份毅力的尊重。


來源
Fingerhut Gallery of Carmel, California, USA
Acquired from the above by the present owner

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拍品專文

Luo's childhood was spent in the prosperous Chongqing Municipality of Sichuan Province, making his lifelong entanglement with the theme of peasantry all the more striking. During the Cultural Revolution, like so many city youths, Luo was sent to the countryside to learn from hard labor hydro-electric factory in the Daba Mountain area, giving him the rural experience that would influence him throughout his career on his art. He felt that the peasants were constantly under exploitation and felt compelled to speak for them, to make their burdens heard and understood. It was such a profound personal experience that his genuine concern for humanity lends an emotional sweep to his art. Impressed by the works of Jean-Francois Millet, Luo learned to portray his rural subject matters with more sophisticated skills and techniques in the style of Western Realist rural paintings. His detailed Realism enables him to thoroughly capture the bitter and impoverished lives of the peasants in rural China, and the sense of heaviness is noticeable in Luo's iconic Father which led him to fame in the 80's. The artistic career of Luo can be roughly divided into three stages. The first stage commenced at the birth of Father. Since then, the plight of peasants has been recorded by his skillful hand and his superb photo-realistic painting techniques. Tibetan Chief (Lot 1398) and the Tibetan Series (Lot 1397) are works from this period. In much the same way as Father, these two paintings have a subversive undertone against the trend of romanticized Chinese rural 'realist' paintings of the previous era. The dark tone of their skin, its rough and dry texture, as well as the intricate wrinkles on their faces are acutely portrayed by his delicate, almost invisible brushstrokes. The bodies bear the traces of ages and hardship, are often in stark contrast with eyes that sparkle like stars in the night sky. The peasants in Luo's portrayal, despite their crudeness and simplicity, exude impressive gumption and perseverance. Their neat adornment was a tribute to the upright and honest peasants who are held in the artist's high regard.

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