Contemporary Art (Asian) - Wang Huaiqing - House in a House-Red Bed (diptych)

Wang Huaiqing 王懷慶

Wang Huaiqing
HouseIn A House-Red Bed (diptych)
2002, mixed media and oil on canvas mounted on board
200 x 240 cm; 200 x 120 cm (each)

王懷慶 《房中房-紅色之床》(雙聯作)
2002 年作,綜合媒材、油畫畫布裱於木板
200 x 240 公分(一組);200 x120 公分(每件) 

At the turn of the millennium, Wang turned away from the use of dark, heavy colors, instead embracing a new application of richly-textured vermilion oil paint to create a powerful sense of visual expansion,  The inclusion of classical Chinese furniture pieces in front of and behind the painting gives a three dimensional presence to the work, marking a breakthrough from the two dimension painting tradition from both East and the West. A representative work of the artist's many important exhibitions in China and Taiwan, House In A House-Red Bed (diptych) is a continuation of the artist's successful semi-abstract paintings, with the scale and the significance comparable to another work Feet-2 (diptych), which set a new world auction record for the artist at Sotheby's in Spring 2016.

20、21 世紀之交, 王懷慶以澎湃的歷史感懷打破一貫深邃厚重的色彩語言, 開始運用大膽激昂的紅彩, 創作了一系列極具視覺張力的作品。《房中房-紅色之床》不僅以厚重的油彩肌理賦與畫面質感, 更突破東西方繪畫千載以來的平面常規, 在畫面前、後裝置古典家具部件,使作品具有三維效果。本作曾代表藝術家參與海峽兩岸多次重要展覽, 延續其於 90 年代以半 具象繪畫所創造的藝術成就與國際名聲, 論尺幅之恢宏、內涵之精深, 足以媲美蘇富 2016 年春拍大幅刷新王懷慶拍賣紀錄的《足-2》。

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Contemporary Art (Asian) - Lin Fengmian - Harvest at Dawn

Lin Fengmian 林風眠

Li Fengmian
Harvest at Dawn
oil on canvas, 1950s, 85.8 x 123.8 cm

林風眠《豐收的早晨》

1950 年代作,油畫畫布,85.8 x123.8 公分
Courtesy of Sotheby's

At the time of its painting, by LinFengmain, Chinese society marched toward socialism in the idealistic spirit of establishing economic equality among its citizens.  The painting evokes optimism in its shining sun warming a group of village women happily engaged in the work of harvest.  Rare and of museum-quality, Harvest at Dawn echoes the composition and spirit of a series of nearly or partly identical colored ink masterpieces in the collection at the Shanghai Chinese Painting Academy, and is the result of repeated experiments.

當時中國大陸進行全面社會主義發展, 以求創建平等豐盛的烏托邦。畫中呈現清晨時份, 農村婦女喜悅地收割莊稼的情況, 洋溢理想主義樂觀精神。上海中國畫院收藏之中,有與本幅《豐收的早晨》構圖幾乎一樣的紙本重彩作品, 以及一系列整體或局部相似之作, 可見本作經歷反覆構思與推敲, 成為最重要的「豐收」油畫, 絕對是博物館 級扛鼎之作。

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Contemporary Art (Asian) - Liu Ye - Mondrain in the Afternoon

Liu Ye 劉野

Liu Ye, Mondrain in the Afternoon, 
2001, acrylic on canvas
160 x 160 cm
劉野《下午的蒙德里安》
2001 年作, 壓克力畫布, 160 x 160 公分
Courtesy of Sotheby's 

Mondrain in the Afternoon is one of a set of three iconic paintings by Liu Ye that references his artistic dialogue with the works of Dutch artist Piet Mondrian. The other two works are Mondrian at Noon and Mondrain in the Morning. The first belongs to the collection of Long Museum in Shanghai while the second remains in the artist's private collection. This work, the only in private hands, displays the ways in the visual theories such as balance and geometrical partitioning have permeated Liu Ye's artwork.

《下午的蒙德里安》是劉野三張分別以「早晨」、「中午」及「下午」為題, 同樣以蒙德里安 (Piet Mondrian) 作品為構圖的作品系列之一。其中,《中午的蒙德里安》由上海龍美術館館藏,《早晨的蒙德里安》則屬藝術家私人收藏, 此作是唯一一 張存於私人收藏中, 稀有性不言而喻。劉野早年於德國柏林藝術學院學習, 此作正充分呈現不同視覺理論對其的影響, 如講求平衡與幾何的畫面切割, 統一的和諧、平衡及秩序感。

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Contemporary Art - Zhang Xiaogang - Bloodline: Mother and Son No.1

Zhang Xiaogang

Zhang Xiaogang
Bloodline: Mother and Son No. 1
1993
oil and photo collage on canvas
115 x 146 cm
張曉剛《血緣:母與子 1 號》
1993 年作, 油畫及相紙拼貼於畫布, 115 x 146 公分

Created in 1993, the critical year when Zhang Xiaogang transitioned from previous explorations of Surrealism and Symbolism to his signature Realism, Bloodline: Mother and Son No.1 is the first work from the artist's historically important Bloodline series.  It is also a highly personal work of art, as it features the artist himself and his mother.  Zhang Xiaogang only produced two paintings on the mother-son theme,  with the other being Bloodline: Mother and Son No.2 - now part of the collection of Fukuoka Museum of Art.  Following the depiction of himself and his mother, the artist later extended the motif towards the entire family, giving rise to his iconic Bloodline: Big Family works that encapsulate the weight of society, history, and
Chinese identity.

《血緣‥母與子 1 號》創於 1993 年, 為張曉剛第一張《血緣》作品, 極具代表性。 當年張曉剛大膽拋開以往的超現實畫風及象徵符號, 轉而直面真實人物, 首次以血緣關係為題材創作《血緣‥母與子》。此系列僅只兩張, 其中《血緣‥母與子 2 號》已被日本福岡美術館收藏, 《血緣‥母與子 1 號》作品取材自藝術家及母親的自畫像, 極具私密性且影響深遠, 從母子關係, 擴展至後來的《血緣‥大家庭》系列, 讓藝術承載著社會、歷史及身份的重量, 是該批作品最經典之作。

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Western Contemporary Art - Jean-Michel Basquiat - Water-worshipper

Jean-Michel Basquiat

Jean-Michel Basquiat
Water-Worhipper, 1984,
acrylic, oilstick, silkscreen ink and metal on panel,
209.6 x 274 x 10.2cm尚·米榭·巴斯基亞
《致水神》, 1984 年作,
壓克力、油棒、絲網印刷、鋼裱於木板,
209.6 x 274 x10.2 公分
Courtesy of Sotheby's

Created in 1984, this remarkable work bears witness to the very year Basquiat reached full artistic maturity at the age of just twenty-four. He was the youngest artist ever to be included in the prestigious Whitney Biennial in the previous year. Combining the tobacco logo, figures from Haitian voodoo, and planks that symbolise the boat or slave ship, the work displays his intensive engagement with racism, colonialism and slavery, which were both nurtured from personal experiences as well as his interest in Afro-American history. It reflects our contemporary times and society just as it reflects history - the very reason why Bastiat's work continues to influence the younger artist generations today.

本作繪於 1984 年, 當時巴斯基亞年僅 24 歲, 但藝術技巧和風格已臻純熟。於前一年, 他便以最年青藝術家身份參加享負盛名的惠特尼雙年展(Whitney Biennial)。本作呈現巴斯基亞對非裔移民的宗教體系, 以及奴隸制度和種族主義的深切思考, 當中揉合了香草商標、海地巫毒的角色人物, 以及象徵奴隸船的木板。這些思考源於其親身經歷, 以及他對非裔美國人歷史的關注。《致水神》反映我們的歷史, 也反映當今的時代和社會, 因此巴斯基亞所開啟的思考空間對現今年輕一代藝術家依然啟發良多。

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