細節
余本
風景
油彩 畫布
簽名:余本
來源
現藏者父親直接購自藝術家本人


余本曾說:「我時常在想,中國人學習西洋藝術,總應該跟自己民族的東西結合起
來,對自己的民族的藝術應有更多的了解。」余本的風景作品呈現了南中國的地方
色彩,他的靜物作品體現了藝術家具中國審美觀的情趣和品格。選題、佈局、色彩
上都是經驗醞釀而成。《水仙》(Lot 1165)滲透出古典寫實風格,靜謐、深沉的情
調。畫中圓形木桌上擺放一盤盛放的水仙花、飽滿的桔子,透露了當時正值春節。
余本沒有運用大紅色表現大鑼大鼓的節日氣氛,《水仙》蘊含中國文人內歛、自省
的的情懷,把一年之始,中國人渴望一家團聚的中心思想表現。全幅作品用筆細
膩,特別是勾勒水仙花修長的的葉面的筆法,都是極富中國水墨繪畫風格。
來源
Acquired from the artist, and thence by descent to the present owner

拍品專文

Yee Bon is another artist who made many attempts and experimented with Chinese ink on Chinese rice paper with Chinese writing brush when creating oil painting. To Yee Bon, the reason of doing this is not to become a Chinese art painter but to transfer the techniques in traditional Chinese ink painting to oil painting in order to establish the nation's own artistic characters. The composition of Yee Bon's Landscape (Lot 1158) is close to the multi-point perspective in traditional Chinese painting, unrolling from pathways in the mountain through the woods, crossing miles of mountains far away and going beyond the clouds. Yee Bon successfully incorporated the composition technique in Chinese ink painting into oil painting to depict a wide angle of view on canvas and to capture the nature without boundary. It demonstrates the artist's open mind and aspirations. Yee Bon uses different tones of green colour to delineate the complicated rays of light and the change of colour in nature. Via delighted and sharp brushstrokes, the green colours complement each other and render the brilliant scenery.

更多來自 中國二十世紀藝術日間拍賣

查看全部
查看全部