WANG JIYUAN
The Belfield Trust Collection, USA - Paintings by Wang Jiyuan
WANG JIYUAN

細節
美國 Belfield 基金會收藏之王濟遠作品王濟遠

戴珠鍊的藍衣仕女
油彩 畫布

來源
此基金會之收藏乃直接購自藝術家本人


王濟遠在中國現代藝術發展歷程中,是十分重要的藝術家,創作產量豐碩,從容進出於水墨、水彩、油畫各種媒材,以中西兼擅,享譽藝壇。早於1919年,他已和劉海粟籌組著名的藝術團體「天馬會」,帶起藝術風潮。其後,他更長時期出任中國第一所正規美術學校 — 上海美術學校(上海美專)的教授,長達12年之久,活躍於上海地區,與劉海粟、潘玉良、關良等並為推動、教授西油畫的大旗手。王氏發掘、推廣之功,為藝壇樂道,先有引薦陳澄波到上海任教,再有為潘玉良舉行題為「中國第一個女畫家畫展」個展。自此潘玉良之名不脛而走,被徐悲鴻聘為中央大學藝術系講師。1926-1928,曾遠赴東京留學,並曾舉行個展。他在上海、甚至後來移居美國時,仍持續編寫多種藝術技法書刊及出版介紹中國美學思想的論著。1941年移居美國,創辦了華美畫學院,二十年來致力推廣中國藝術。1970年代,與張大千在美國史密斯桑寧博物館(Smithsonian)舉辦畫展,成為西方藝壇體會東方藝術的窗口。直到晚年獨身客居台北時,仍持續創作,更每天鑽研甲骨文的線條藝術,近百幅作品。

縱觀王濟遠的創作歷程,前期以水彩畫見長,30年代多次舉辦個人水彩畫展,王氏在20年代末赴歐、日等地考察,更積極的投入油畫創作。早期的油畫作品仍然帶有水彩畫用色較薄的特點,其後作畫風格受塞尚影響,他開始注意技法分析以及對象的體面構成。《戴珠鍊的藍衣仕女》(Lot 1359)應為1940-50年代的創作。王濟遠初抵美國,對美國社會人物、生活風情有了更真切的感受,以西洋仕女為題創作了一系列的作品,並舉辦展覽。雖然情境及人物、甚至是媒材是西方式的,但王濟遠總能賦予畫面一份優雅寧靜的氛圍,畫中人靜靜站著,雙手從容而又帶點矜持羞澀的放在胸前,溫柔謙讓,這便側面突顯了王濟遠中國文化的淵源。這時期的油畫創作,注意畫面構圖和色彩塊面的呈現,畫面變得濃重厚實,筆觸也更流暢、圓熟。此外,本年度春拍也呈獻了王濟遠一系列小品式的靜物、風景及裸女作品,題材、媒材及風格都多樣化。《朱几水仙圖》(Lot 1360)、《荷花》、《午後之中央公園》、《盆栽》、《城市風景》( Lot 1361)、《靜物(洋薊及瓜)》、《花與青花盆》及《瓶花(玫瑰)》(Lot 1363)等,是用色流暢之水彩畫,既寫實又寫意,靜物場景刻劃細膩。但表達上,亦側重於線條的自由韻律及水彩色彩各種濃淡枯潤的美感。情境氣氛,甚至是靜物的題材都有一種靜謐、尊貴、典雅的東方詩意氛圍。

來源
This collection was acquired directly from the artist

拍品專文

Wang Jiyuan was a significant artist in the development of modern art history in China. He was famous for his proficiency in both Chinese and Western media, including ink painting, watercolor and oil painting. As early as 1919, Wang was a founder of the renowned art organization "Heavenly Horse Society" with Liu Haisu. Afterwards, he held a position at the Shanghai Art School (Shanghai Mei Zhuan), the first professional art academy in China, as a professor for twelve years and was very very active in Shanghai art circles throughout that period. Accompanied with Liu Haisu, Pan Yuliang and Guan Liang, Wang Jiyuan became a leading figure promoting and tutoring Western oil painting. His efforts in discovering new talent was noted and praised at the time; for example, he personally recommended Chen Chengbo to teach in Shanghai, and spearheaded "The First Chinese Female Artist Exhibition" for Pan Yuliang, furthering her reputation and spurring Xu Beihong to invite her as a lecturer at the Central University. From 1926 to 1928, Wang studied and held exhibitions in Tokyo. In Shanghai and even later in the America, Wang still continued to write treatises on art techniques and introducing Chinese aesthetic views. In 1941, he moved to the USA and established the School of Chinese Brushwork through which he promoted Chinese art for twenty years. In the 1970s, Wang held a joint exhibition with Zhang Daqian in the Smithsonian Museum, USA, cementing Wang's reputation for providing a window for the West to understand Chinese art. Towards the end of this life, Wang lived alone in Taipei, but still held firmly to his creative and scholarly instincts, studying the lines and inscriptions of Oracle bones everyday, producing in his final years nearly a hundred unique paintings.

An overview of Wang's creation shows his early mastery of watercolor. By the end of the 1920s Wang Jiyuan had already been in Europe and Japan, allowing him to further his study of oil painting. His earliest works employed oil in thin layers and a restricted palette, characteristic of his watercolor works at the time. Later the influence of Paul Cezanne led him to pay increased attention to technical analysis and the composition of objects. Lady in Blue and Necklace (Lot 1359) were created approximately in the 1940s or 1950s; when Wang first arrived in the United States, he held an exhibition featuring a series of works featuring Western ladies, a theme which allowed him to better understand American society and life style. Despite settings, subject matter and even a medium that were all essentially Western in origin, Wang was able to bring an Eastern quietude to the scene. Wang's Chinese cultural background is manifested indirectly by the figure who, with a shy and gentle manner, stands still with her hand comfortably reserved on her chest. With smooth and sophisticated brushstrokes, the oil paintings in this period display Wang's attention to composition and a use of color that contributes to the heaviness and thickness of the canvas. Wang's pre-eminent virtuosity in multiple media and subject matter can also be scene in the variety of still-lifes, landscape, and figurative works also highlighter here in the spring auction. Realistically yet casually manipulated, still-lifes in watercolor like White Narcissus and Red Stool (Lot 1360), Lotus, Potted Plant, Cityscape (Lot 1361), Artichoke and Melon, Potted Flowers and Roses in Jar (Lot 1363) are executed with an exquisitely free flowing brush and supple use of color, revealing Wang's rhythmic lines and elegant gradations of pigment, and imbuing his subjects with the quiet, noble, and poetic aura of the Orient.

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