HUANG MING-CHE
黃銘哲

幸福的女人

細節
黃銘哲
幸福的女人
油彩 畫布
1986年作
簽名:哲

來源
台灣 台北 印象畫廊
亞洲 私人收藏

拍品編號1500之正確作品名稱應為《幸福的女人》。

黃銘哲曾說:「最初我以寫實手法刻畫人物。到了1986年,我卻開始改變。覺得無法再重覆了。」生活中的經驗和衝突促使他尋求改變,同年所作的《甜蜜的女人》(Lot 1500) 在延續對於女性主題探索的同時,亦揭示了藝術家創作歷程的重大轉折。線條向來為黃銘哲畫面重要的形式元素,《甜蜜的女人》除去了明暗光影塊面的描寫,線條已不受輪廓所限制,形體與色彩已然逐漸解構、分離,在平面化的造型間,富於裝飾性的畫面結構與線條揮灑的動態感依稀可見來自克林姆 (Gustav Klimt) 與德庫寧 (Willem de Kooning) 的影響。黃銘哲在此雖描繪了具象的女體,卻並非以單一女性作為描繪對象,而是將女性種種的柔美特質抽取出來,畫中的女子身體呈現柔和的米黃色,臉部和背景則運用了大膽的黃、橘和桃紅色,藝術家豐富多元的用色,不僅隱喻了女性時而溫柔、時而熱情的多變特質,繽紛的暖色調更烘托出畫面所欲呈現甜蜜的浪漫氛圍。
來源
Impressions Art Gallery, Taipei, Taiwan
Private Collection, Asia
拍場告示
Please kindly note that the Chinese title stated in the catalogue is incorrect, please refer to Lotfinder at christies.com for correct Chinese work title.

拍品專文

Huang Ming-che once said, "I used to do realistic figure sketches till 1986. I began to change at that time, feeling unable to do repetitions any more." It was life experience and contrast that provoked his searching for change. Composed in the same year, Sweet Lady (Lot 1500) continued to explore the feminine theme and yet embraced the artist's significant change of creation. In his previous paintings, lines were important elements of forms. Apart from the depiction of light and shade, lines in Sweet Lady are freed from the restriction of outlines. Forms and colours are gradually deconstructed and separated. Within the plane forms, the painting embraces a decorative composition and flowing lines, seemed to be influenced by Gustav Klimt and Willem de Kooning. Though Huang Ming-che depicts a figurative female body in the painting, he doesn't focus on one particular woman but to extract the soft and beautiful characteristics of female. The female body reflects mild ecru colour against the bold use of yellow, orange and peach pink in her face and in the background. The artist's rich applying of colours serves as a metaphor of female's changing softness and enthusiasm. Moreover, the fantastic warm tone conveys a sweet and romantic atmosphere.

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