細節
李超士
秋床
水粉 蠟筆 紙本
1962年作
簽名︰超士
來源:
亞洲 私人收藏
展覽:
1997年「新加坡國際藝術博覽會」新加坡國際展覽中心 新加坡
2002年10月19日-2003年1月19日「昔采東西:中國前輩藝術家的油畫展」香港大學美術博物館 香港 中國
出版:
1962年《李超士粉畫集》山東人民出版社 中國 (圖版,無頁數)
1997年《新加坡國際藝術博覽會》新加坡 (圖版,第24圖)
2000年《中國油畫圖典(1868-1999)上卷》遼寧美術出版社 中國 (圖版,第93圖)

李超士是二十世紀最早赴歐學習西洋畫的中國畫家之一,又是我國最早提倡粉畫、從事粉畫創作,並有獨特成就的著名藝術家和美術教育家。李氏作品可分為素描、油畫、水粉畫等,造詣均深,水粉畫尤為引人入勝。畫法曾受益於法國印象派畫家艾德嘉.竇加(Edgar Degas,1834-1917),揉以個人精湛的素描技巧,形成獨特的藝術風貌。水粉畫亦稱色粉筆畫,流行於十八世紀歐洲,使用特製的色粉筆畫在特製的粉畫紙上。色粉不透明,作畫時只能在紙上直接配色,充分考驗藝術家的功底,可見李氏對其寫實根底、構圖、筆法技巧的信心。《秋床》(Lot 1313)曾刊載於《李超士畫集》(上海人民美術出版社,1985年),是現僅存留李氏一百餘件遺作之一。《秋床》構圖章法富有中國傳統繪畫的特色,疏密有致,同時又運用西方寫實表現空間的單點透視法(one point perspective),表現廣闊的田野,可說是藝術家呈現戶外景觀最為寬遠的一幅。李氏用筆繁簡合宜,線條流暢,色彩和諧,充分利用色粉畫具鬆柔明艷的感覺,發揮粉畫特殊的藝術效果,淋漓盡致地呈現大自然的生機。
來源
Private Collection, Asia
出版
Shangdong People Publishing, Li Chaoshi, China, 1962 (illustrated, unpaged).
Singapore,ArtExpo 97, 1997 (illustrated, plate 24).
Liaoning Art Publishing, Chinese Oil Paintings (1868-1999) Vol. 1, China, 2000 (illustrated, plate 93).
展覽
Singapore, Singapore Exposition, ArtExpo 97, 1997.
Hong Kong, China, The University Museum and Art Gallery, The University of Hong Kong, East and West: Early Chinese Artists, 19 October, 2002 - 19 January, 2003.

榮譽呈獻

Felix Yip
Felix Yip

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拍品專文

Of Chinese artists of the 20th century Li Chaoshi was among the first of those who studied western paintings in Europe. He was, besides, a prominent artist and art educationist of distinct achievement who pioneered gouache painting and set in motion its advocacy. He had absolute mastery over sketches, oils and gouaches, the latter among which were particularly bewitching. While influences of the French impressionist painter Edgar Degas (1834 - 1917) can be traced, Li's brushworks, recognizably infused with his own exquisite sketching technique, are of unique virtuosity. Gouache, also called opaque watercolor paint, was prevalent in Europe during the 18th century. It involves the application of specially made pigments on specific types of papers, and as the pigments are opaque, any attempt to combine colors is constrained on the drawing paper. Such challenging technique is fully implemented in Li Chaoshi's works, which reveal his confidence in his rudiments of realistic depiction, composition and brushworks. Harvest (Lot 1313), a selection of Li Chaoshi hua ji or Li Chaoshi: the drawings (Shanghai People's Fine Arts Publishing House, 1985), is one existing posthumous works of Li among the hundred which have made their rare survival. Carrying with it noticeable characteristics of Chinese traditional paintings, the composition of Harvest shows a dexterous alignment of the sparse and the dense, and accompanied by the use of one point perspective, a western technique of realistic spatial manifestation, it exhibits an enormously wide field, virtually the widest among all of the artist's works on landscape. The brushworks of Li demonstrate a most proper manipulation of complexity and simplicity; his lines are smooth, his colors are harmonious, and the bright and nebulous aura the gouache paint exudes is effectively utilized to elaborate the singular artistic effect of the materials, uncovering, in the most exhaustive manner, the vitality of nature.

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