細節
譚華牧
紅瓦風景
油彩 畫布
1928年作
簽名:H. M. Tan
來源:
關良舊藏
亞洲 私人收藏

早於1917年,關良東渡日本學習。雖然關良學的是油畫,回到中國後,由於抗戰期間有限的條件下,開始練習中國筆墨繪畫。《花果圖》(Lot 929),關良以78歲高齡繼續探討、實踐油畫與水墨的融合。關良一直著重線條的表達,相比淡墨、用筆幼細的早期作品,《花果圖》中其筆觸變得粗獷有力,乾筆老辣。《花果圖》同時表現西方油畫重視構圖、色彩、空間、光暗表現。關良把油彩層層疊疊產生強烈質感的用色技法應用於中國水墨,以鮮明亮麗的色彩表現物象。濃墨、淡墨的方法,表現物象的陰影,右邊的藍間布簾帶有野獸派代表人物馬蒂斯(Henri Matiss)以線條、花紋表現多層次的空間感的影子。

譚華牧曾於1928年留學日本,與關良等藝術家在上海發起成立「上海藝術家俱樂部」,1929年創辦人文藝術學校,共同為中國美術教育作出重要貢獻。《紅瓦風景》(Lot 928)乃作於此段對美育革命最熱血沸騰的時期。譚華牧畫作以豪邁自由的筆觸表現大自然的色彩、光暗變化。《紅瓦風景》乃關良舊藏,足見譚華牧與關良惺惺相惜的交情。

當時上海的美術教育活躍,不同風格的美術學校為中國培養了新一批的藝術家。其中,關紫蘭更是當時少有活躍上海的女性油畫藝術家。1927年,關氏畢業於上海中華藝術大學西洋畫科,同年赴日本留學,曾多次入選日本重要畫展(圖2)。關紫蘭是中國較早接受野獸派影響的畫家。作於1928年《洋房》( Lot 931),是藝術家較早期的作品,以簡煉的線條描繪屋子的結構,門、窗、露台、籬笆以濃、淡、深、淺不一的線來表達。屋旁彎曲的樹枝更為畫面增添了幾分活力,相當秀氣。《春天》( Lot 930)可見關紫蘭善用不同色塊、變化的筆觸、線條勾勒,表現空間感。藝術家以四塊色度不一的深綠色三角形色塊交代了遠景,層次豐富的自然風光盡收畫中。

周廷旭早於1921年進入波士頓美術博物館美術學院學習繪畫,是首被聘為英國皇家藝術家協會會員的外國人。周廷旭鍾情於西方印象派及後印象派的色彩表現。周廷旭追求色彩空間的手法,《風景》( Lot 934)及《靜物》( Lot 933)中可見藝術家如何應用色彩明快對比,強化色彩的純度和冷暖對比,不但表現了大自然絢麗的風光與花卉的美,同時傳遞了周廷旭跌宕起伏的情感。

1928年,呂斯百赴法留學,曾跟隨著名畫家勞倫斯(P.A. Laureas)學畫。呂斯百的藝術樸素自然,如夏爾丹(Pierre Teilhard de Chardin),題材多以尋常生活場景為主,,小巧別緻,題材雖是平凡,卻帶有藝術家投射於其中的真摰感情。《海堤風景》( Lot 935)以青、黃油畫色彩,描繪鄉土的明媚風光及鄉土生活情調。《士兵》( Lot 936)一作藝術家描繪看來平平無奇的士兵肖像,原是人民的模範,其和藹可親的面容,表現了藝術家對其真誠服務人群的態度非常欣賞。
來源
Collection of the artist Guan Liang
Private Collection, Asia

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拍品專文

Guan Liang's work style was a combination of Realism and Impressionism, where influences from Manet Edouard and Claude Monet could be found. To illustrate the subject's vivid spirits, Guan Liang followed Bada Shanren to use simple yet precise brushstrokes to outline the objects, sometimes exaggerating the brushstroke to change shape to achieve an impressive visual effect. In comparison to his early works of delicate lines and light colors, Still Life- Flowers and Fruits (Lot 929) has strong coarse lines with emphasis on the aspects of composition, color, space and shades akin to western paintings. His bright and strong colors depict the pink peach-blossoms, green elegant vase and fresh fruits, applied with consistent layering of paint to attain an impressive feel. The shades of subjects are controlled through the various dry palette of ink. Alike Guan Liang, Tan Huamu was also influenced by the European Impressionism, adopting bold and free bush strokes to paint color and shades of nature in Landscape (Lot 928); this was in the former collection by Guan Liang as a symbolic entity for their friendship.

New generations of artists, such as one of the few Chinese female artist Guan Zilan studied Fauvism, cultivating the contrast and sensitivity of color palettes, which established her splendid painting style. House (Lot 931) is one of her earliest works, where she employs simple yet diverse contours in deep and pale color bring alive the painting with delicately crooked branches by the house. Her strong compositional awareness is also found in her toying with perspective, apparent n four tonal variance of the green palette to express the depth of the nature in Spring (Lot 930). Also fond of Impressionism and Post-Impressionism, Zhou Tingxu's acute awareness in contrast of bright and dark, cold and warm, intensity of the color palette granted him as a role in England Loyal Artists Association as the first foreigner. In Landscape (Lot 934), he expressed nature, imbuing the scene with his emotion, whereas an aura of tranquility is found in his illustration of a flower through his emphasis on perspective, bold strokes and abundant colors in Still Life (Lot 933). However in Lu Sibai's artistc realm, he mostly depicts daily life subjects in simple yet in natural style, fortifying his interest in the works of Paul Cézanne and Pierre Teihard de Chardin. Within the small frame of his canvas, Coastal Scenery (Lot 935) unravels an enchanting scene of the country in green and yellow, whereas The Soldier (Lot 936) frames an ordinary solider with amiable expression, in which we can distinguish Lu's appreciation towards the protagonist's duty to serve his people.

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