細節
楊三郎
東北角浪濤
油彩 畫布
簽名:S. Yang

來源
亞洲 私人收藏

在楊三郎的畫作中、最受到讚揚的莫過與他於戶外自然寫生的風景畫作品。這除了受到印象派與自然主義的影響、從實地寫生中、探索生命與自然的奧祕、在與大自然的直接接觸時、感受天地的偉大力量。他曾說過:「寫生即是創作」憑觀察自然瞬間的交融、抓住畫意、才能全力表現大自然即時的啟發。

在《十和田之秋》(Lot 1082)一作中,楊氏歌頌了一個日本湖畔的金秋。樹後水色的濃淡,表現了距離與深度。透過淨色與對比的運用來加強前景與背景的景深,令人想起野獸派的畫風。但畫中對風景的光暗與色彩的拿捏,則展現了西方印象派及日本寫生風格的影響。《東北角浪濤》(Lot 1081) 一幅創作於八十年代的作品中,畫家以不同深淺濃淡的藍白色調,模糊了前景與背景的分別,配以明快婉延的筆觸,精心描繪拍岸的驚濤,突顯了場景的光線與時間的變動。陰雲之上之灰影,表現了風雨來臨前夕的平靜,同時卻有著一種楊氏作品獨有之處,及對這壯觀的景色的感動之情。

楊三郎的戶外風景繪畫,所講究的在於大自然的「內在美」上,尤其是那自然中陽光、氣候所造成的奇緻秀麗色彩。海景無疑在楊三郎的戶外風景寫生作品中,是他特別珍愛的題材之一,在他的海景作品中,那綿延不盡的海岸線、變化萬千的天海色彩、激情澎湃的浪花衝岸、清楚看到了楊三郎一生對藝術的執著與熱愛,相較於西方印象派大師─莫內晚年對海景題材的著迷,楊三郎以海景演譯出屬於他特有的風格與情境。
來源
Private Collection, Asia

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拍品專文

The most highly regarded works in Yang Sanlang's oeuvre are the depictions of natural scenes he created outdoors. Aside from certain influences from Naturalism and Impressionism, Yang's work is an exploration of the mysteries of life and nature in which painting on site brought him closer to a sense of the earth's great energies. Yang believed, as he said, that "painting from life is pure creativity."

In Autumn in Lake Towada, Japan (Lot 1082), Yang glorified the autumn landscape of an idyllic lakeside in Japan. The different saturation of the navy water set behind layers of trees, created a sense of distance and dimension. He focuses on using pure colour and strong contrast, to construct a sense of space between foreground and background, reminiscent of the Fauvist's contrastive painterly manner; yet his use of light and colour in portraying the landscape draws attention to his influence from the Western Plein-Air style that originated from Impressionism. The waves of Northeast Coast, Taiwan (Lot 1081), painted in the 1980s used a different saturation and various blue and white hues that ricochet between the foreground and the background. His brisk and spontaneous brush strokes meticulously capture the flux and surge of wave rupturing within the untamed seashore. All these elements further enhance the awareness of light and the shifting environment of the scenery. The grey hues applied on top of the thick white cloud, beautifully captures the moment of calm before a storm, and Yang Sanlang's expressive reaction to the changing landscape.

His landscapes emphasize a search for the "inner beauty" of nature, which for him was especially apparent in the dense and beautiful colours of climate and sunlight, and the seascape which became one of chief subjects for outdoor painting. In a manner similar to Monet's fascination with the sea in his later years, Yan Sanlang's interpretation of the subject was fashioned by an artistic style and personal circumstances that were uniquely his own.

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