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Modern and Contemporary Art Evening Sale 现当代艺术夜场

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Modern and Contemporary Art Evening Sale 现当代艺术夜场 Modern and Contemporary Art Evening Sale 现当代艺术夜场 2020 年 08 月 18 日 北 京 ｜ BEIJING MODERN AND CONTEMPORARY ART EVENING SALE 现当代艺术夜场 2020. 08. 18 BJ0001 北京永樂國際拍賣有限公司 现当代艺术 夜 場 Modern and Contemporary Art Evening Sale 索 引 索 引 INDEX OF ARTISTS INDEX OF ARTISTS 朝 戈 CHAO GE 829 王衍成 WANG YANCHENG 824 陳鈞德 CHEN JUNDE 828 王 音 WANG YIN 858 陳逸飛 CHEN YIFEI 838 吳大羽 WU DAYU 801,802,803,804 陳彧君 CHEN YUJUN 871 吳冠中 WU GUANZHONG 813,814,815,816,817 朱德群 CHU THE-CHUN 822 吳作人 WU ZUOREN 826 段建偉 DUAN JIANWEI 830 謝南星 XIE NANXING 856 陳蔭羆 GEORGE CHANN 823 徐 冰 XU BING 832 關 良 GUAN LIANG 805,806,807,808,809 徐 累 XU LEI 837 黃宇興 HANG YUXING 865,866 楊飛雲 YANG FEIYUN 831 郝 量 HAO LIANG 863 草間彌生 YAYOUYI KUSAMA 877 賈藹力 JIA AILI 861,862 趙無極 ZAO-WOUKI 818,820 KAWS KAWS 876 曾梵志 ZENG FANZHI 847 林風眠 LIN FENGMIAN 810,811,812 張恩利 ZHANG ENLI 855 劉 丹 LIU DAN 836 趙 洋 ZHAO YANG 872 劉 野 LIU YE 848,849,850,851 趙 趙 ZHAO ZHAO 875 羅爾純 LUO ERCHUN 827 周春芽 ZHOU CHUNYA 839,840,841,842,843,844,845,846 秦 琦 QIN QI 867 仇曉飛 QIU XIAOFEI 870 尚 揚 SHANG YANG 833 屠宏濤 TU HONGTAO 869 丁雄泉 WALASSE TING 825 「蜡彩之突出渲染细描，叠层加工，复衬 必应，来居先操纵，说明这一工具之于 敏感范畴是夺变、力定、强速作用上。 这一心目吐彩新工具，不全象是粉彩、 油彩、水粉彩、水彩、素彩的复道品， 又有其独特点。素绘也有其独立彩章， 书法艺术之神彩是其主例之解。」 —吴大羽 | 吴大羽的蜡笔画情怀 当我们回顾20世纪的风云艺术家的成就时，虽然那些完美的大型作品代表了每一位艺术家的 风格，但是还有一些少为人知的纸本绘画显示出了艺术的多样性和灵动性。这次精选四件吴大 羽的纸本蜡笔画，这些蜡笔手稿，可能是灵光一现，信手为之，也可能是为绘制油画创作的草 图，创作的过程充满了随意性和偶然性，但是作品依然精致考究，风格鲜明。这些不常见的画 作，可以一窥大师的另一种艺术面貌，以及他在作品中倾注的岁月情怀。 吴大羽是中国抽象油画的开拓者，他将西方现代艺术和中国画的技法进行了拆解再重构，建 构起自己的抽象世界，他喜欢运用色彩和块面去表现感受与情绪，这在他的蜡笔画中也可以 看到。这次专题的四幅蜡笔画大约作于1970至1980年代。吴大羽晚年创作的蜡笔画数量比 较多，一方面是因为形式简单，另一方面是因为蜡彩作为一种古老的技法，具有油画所不具 有的优势，吴大羽称之为“夺变、力定、强速”。这四幅画的尺幅都不大，但是视觉冲击力 却很强，色彩丰富鲜艳，笔线粗犷不羁，稚拙的笔意有儿童画的天真之趣，画中没有明显的 空间感，而是用纯粹的色彩和形状来传达内在的激情。 801 802 吴大羽（1903-1988） WU DAYU (1903-1988) 吴大羽（1903-1988） WU DAYU (1903-1988) 无题 Untitled 隔海相望 I-343 Over the Sea I-343 纸本油性蜡笔 oil pastel on paper 纸本油性蜡笔 oil pastel on paper 3 7 7 14.5 × 10 cm 5 /4 × 3 /8 in. 14.8 × 10.2 cm 5 /8 × 4 in. 出 版： LITERATURE 出 版： LITERATURE 《吴大羽画展》，国立历史博物馆，2001 年，P142-143 Wu Dayu Exhibition, National History Museum, 2001, P142-143 《吴大羽纸上作品集上册》，大未来林舍画廊，2010 年，P199 Wu Dayu: Artworks on Paper Volumn 1, Lin & Lin Gallery, 2010, P199 《吴大羽纸上作品集》，大未来林舍画廊，2007 年，P28、60 Wu Dayu: Artworks on Paper, Lin & Lin Gallery, 2007, P28, 60 《吴大羽纸上作品集》，商务印书馆，2016 年，P182 Wu Dayu: Artworks on Paper, The Commercial Press, 2016, P182 《吴大羽纸上作品上册》，大未来林舍画廊，2010 年，P254、275 Wu Dayu: Artworks on Paper Volumn 1, Lin & Lin Gallery, 2010, P254, 275 展 览： 吴大羽画展，国立历史博物馆，台北，2001 年 EXHIBITED 吴大羽油画艺术回顾展暨纪念吴大羽先生百年诞辰，上海美术馆，上海， Wu Dayu Exhibition, National History Museum, Taipei,2001 RMB 20,000 - 120,000 2003 年 Retrospective Exhibition of Wu Dayu’s Oil Paintings, Shanghai Art 吴大羽个展，耿画廊，台北，2011 年 Museum, Shanghai, 2003 Wu Dayu Solo Exhibition, Tina Keng Gallery, Taipei, 2011 RMB 20,000 - 120,000 現當代藝術夜場 ｜ MODERN & CONTEMPORARY ART EVENING SALE 803 804 吴大羽（1903-1988） WU DAYU (1903-1988) 吴大羽（1903-1988） WU DAYU (1903-1988) 无题 II-170 Untitled II-170 无题 II-588 Untitled II-588 纸本油性蜡笔 oil pastel on paper 纸本油性蜡笔 oil pastel on paper 7 3 3 7 20 × 11 cm 7 /8 × 4 /8 in. 14.5 × 10 cm 5 /4 × 3 /8 in. 出 版： LITERATURE 出 版： LITERATURE 《吴大羽纸上作品下册》，大未来画廊艺术有限公司，2010 年， Wu Dayu: Artworks on Paper Volumn 2, Lin & Lin Gallery, 2010, P349 《吴大羽纸上作品集下册》，大未来林舍画廊，2010 年，P330 Wu Dayu: Artworks on Paper Volumn 2, Lin & Lin Gallery, 2010, P330 P349 Wu Dayu Works on Paper, The Commercial Press, 2016, P476 《吴大羽纸上作品集》，商务印书馆，2016 年，P476 RMB 20,000 - 120,000 RMB 20,000 - 120,000 現當代藝術夜場 ｜ MODERN & CONTEMPORARY ART EVENING SALE 关良与戏剧大师俞振飞、童芷苓合影于 20 世纪 70 年代 Liang Guan with drama master Zhenfei Yu and Zhiling Tong photograph taken by 1970s 「京剧既是一种概括的、富有象征性的、现实主义的艺术，因此，为要充分传达 其神髓，就不能拘泥于一定的技法。这样，我在基本上采用了一部分国画的表 现方法，如线条、泼墨、渲染、平涂散点透视，以使画面更突出，更生动；同 时又以表现对象为主，灵机应变地去活用各种技法，不为技法所拘束。」 現當代藝術夜場 ｜ MODERN & CONTEMPORARY ART EVENING SALE | 大巧若拙，得意忘形：关良 Lot.808 东郭先生受教图 Lot.806 伏虎罗汉 Lot.809 风景 Mr.Dong Guo in Teaching Fu Hu Luo Han Landscape 关良是中国近现代美术史上的人物画大师，他 的作品，文革中饱受磨难的关良曾经把数以千计 的最后一首长诗：神佛都是假，这首诗后来发表在 成为时代进步的标志。 以独创的彩墨戏曲人物画蜚声艺坛，他的戏曲 的画作毁掉，文革结束后，关良在相对平静的生 《人民日报》副刊上。 人物画造型夸张，色彩明快，风格稚拙天真， 活中重新拾起画笔，迎来了他的最后一个艺术创 《晴雯补裘》描绘了《红楼梦》中晴雯带病连夜织 李苦禅曾经称赞他的画法为“得意忘形”。关 作盛期，这个阶段他的戏曲人物画较之以前风格 这幅画的画题出自《水浒传》第三回《赵员外重修 补贾母送给宝玉的孔雀氅的情景。晴雯坐在凳子上 良的人物画有着广泛的形式来源，他在20世纪 变化不大，笔墨更加率意，色彩也更加丰富。 文殊院，鲁智深大闹五台山》，故事讲述鲁智深打 专心补裘，宝玉在身后拿着蜡烛为她照明，这一幕 初东渡日本留学，师从于藤岛武二和中村不折 死镇关西后，为避祸，前往五台山剃度为僧，然而 将戏曲舞台上的“看”、“瞟”、“盯”、“瞄” 两位老师，这期间受到了印象派和西方现代艺 《神佛都是假》是一幅有特殊意义的作品，代 与佛无缘的鲁智深却醉打山门，与寺内的僧人发生 等眼神，捕捉到位，画家刻意营造出一个充满感情 术的影响。关良在归国后又重新致力于学习中 表了郭沫若和关良长达50年的惺惺相惜的友 了剧烈冲突，将一座清净山寺搞得鸡飞狗跳。画中 浓度的瞬间，通过动作和凝视表现出两个人对彼此 国画，他在上海美专任教时迷恋上了京剧，不 情。郭沫若比关良年长8岁，两人在20世纪20 仅描绘了鲁智深一人，其一手提禅杖，一手执腰 的关心。《东郭先生受教图》则是充满讽刺意味， 仅经常观看京剧，而且拜师学戏，他对京剧的 年代相识，关良从日本回国后在上海任教，与 带，步态有些踉跄，有醉酒之状，相貌依据了《水 东郭先生救助中山狼，反而被狼所害，画家在这里 研究颇为深入，甚至能够自拉自唱，这也是他 同在上海的郭沫若一见如故。国民战争爆发 浒传》中的描述，凶恶如莽汉，令人见而生畏，不 以夸张的方式表现出东郭先生的迂腐和狼的狡黠。 的戏曲人物画能够生动传神的原因。 后，郭沫若邀请关良加入“北伐”，并推荐他 敢近前，不敢怠慢，虽然身着僧衣，却没有出家人 《伏虎罗汉》貌似是一幅充满力量感的画，但实际 在政治部负责美术宣传工作。后来国内政治形 的模样。为了更好的呈现一个莽汉，画家运用了率 上令人忍俊不禁，罗汉双手握拳，准备打虎，老虎 关良的戏曲人物系列并不追求形似，而是追求 势变化，两位朋友在十余年内未见，40年代的 意的大写意法，以干涩的墨笔勾出轮廓，再以湿润 转过头来露出狰狞状，在罗汉和老虎对视之时，不 Lot.807 神佛都是假 动态和意趣，他往往用迅疾洒脱的笔法写出人 抗日战争时期两人在重庆避难时重逢，关良在 的水墨和淡色晕染，面部的刻画较为细致，络腮 知是否会发笑，因为老虎看起来像一只猫，这大概 God Buddha is Fake 物，将舞台上的一个瞬间定格，抓住某个戏剧 重庆举办展览，郭沫若为其撰写了长篇评论文 胡、散发、瞪圆的眼睛显示出强烈的性格特征，使 是关良有意流露的幽默感。这几张画造型生动风 性或滑稽的场面。关良对水墨的运用达到了游 章，还在文汇报发表了《关良艺术论》。郭沫 人感受到鲁智深的我行我素、不守规矩的性格。 趣，用笔质朴平易，人物惟妙惟肖，充满谐趣，是 刃有余的程度，同时他也将西方现代艺术的技 若对关良的艺术评价很高，他认为关良不是折 关良晚期的戏曲人物画佳作。 巧引入水墨画中，比如印象派的时间效应和光 衷主义者，而是用西画改造中国画，企图创造 郭沫若在题写诗文时，有意运用了“打油诗”的风 色理论，现代艺术的形式构造理论，他将中西 一种时代的、前进的、发扬中国传统艺术精神 格，以与关良的诙谐画风相契合，“神佛都是假， 《风景》是一件水彩写生画，以很随意的方式呈现了 技法完美地融合起来，为他的戏曲人物画和风 的新绘画。郭沫若对关良的认可和提携在当时 谁能相信它”，这首诗写作的时间是文革之后，因 一个普通的乡村景致，民居周围有繁茂的树木，村前 景画都带来了独特的风格。 的环境中非常重要，一方面使关良的艺术更快 此有明显的时代特色，郭沫若借助这个“鲁智深醉 的高桥上，村民络绎不绝，近景中还有几个村民在河 地受到社会认可，另一方面也使关良躲过了一 打山门”的故事来寓意当时中国的政治状况，他认 边洗衣服，乡村生活平淡而闲适。关良在这里将西方 本次专题的作品《晴雯补裘》、《伏虎罗 些政治风潮。1977年冬，在郭沫若去世前数 为在百废待兴之时，应打破旧体系，建立新体系， 风景画和水墨画的技法结合起来，用水彩的透明色块 汉》、《神佛都是假》、《东郭先生受教 日，关良拿着一幅《鲁智深醉打山门》，请郭 以促进现代化建设。这首政治寓意的题画诗也使关 和粗率的墨线共同营造出一种雅致的青绿色调，那些 图》、《风景》，都是关良在20世纪70年代末 沫若题诗，郭沫若抱病在画上题写了生平所作 良的《神佛都是假》超越了绘画本身的艺术价值， 粗犷不羁的笔线令人联想起他的戏曲人物画。 Lot.805 晴雯补裘 Qing Wen Mends Fur 現當代藝術夜場 ｜ MODERN & CONTEMPORARY ART EVENING SALE 805 关良（1900-1986） GUAN LIANG (1900-1986) 晴雯补裘 Qing Wen Mends Fur 1978 年作 1978 纸本水墨 ink on paper 7 3 81 × 65.5 cm 31 /8 × 25 /4 in. 款识：晴雯补裘戊午九月关良 signedinChineseanddated1978.9withoneseal 钤印：关良 PROVENANCE 来 源： ProvidedfromArtist'sFamily 直接得自艺术家家属 RMB 300,000 - 800,000 京剧《晴雯补裘》剧照 Peking Opera, Qing Wen Mends Fur, stage photos 現當代藝術夜場 ｜ MODERN & CONTEMPORARY ART EVENING SALE 806 关良（1900-1986） GUAN LIANG (1900-1986) 伏虎罗汉 Fu Hu Luo Han 1978 年作 1978 纸本水墨 ink on paper 1 5 130 × 67.5 cm 51 /8 × 26 /8 in. 款识：伏虎罗汉戊午六月作于沪江关良 signed in Chinese and dated 1978.6 with one seal 钤印：番禺关良 PROVENANCE 来 源： ProvidedfromArtist'sFamily 直接得自艺术家家属 RMB 300,000 - 800,000 現當代藝術夜場 ｜ MODERN & CONTEMPORARY ART EVENING SALE 807 关良（1900-1986） GUAN LIANG (1900-1986) 神佛都是假 God Buddha is Fake 1977 年作 1977 纸本水墨 ink on paper 3 1 90 × 56.5 cm 35 /8 × 22 /4 in. 款识：一九七七年十月番禺关良画 signed in Chinese and dated 1977.10 with two seal 神佛都是假，谁能相信它？打破山门后， 提杖走天涯！见佛我就打，见神我就骂。 PROVENANCE 骂倒十万八千神和佛，打成一片稀泥巴。 ProvidedfromArtist'sFamily 看来禅杖用处大，可以促进现代化。开遍 大寨花。 一九七七年十二月一日题 关良同志画鲁智深 郭沫若 钤印：关良 来 源： 直接得自艺术家家属 RMB 300,000 - 800,000 現當代藝術夜場 ｜ MODERN & CONTEMPORARY ART EVENING SALE 808 809 关良（1900-1986） GUAN LIANG (1900-1986) 关良（1900-1986） GUAN LIANG (1900-1986) 东郭先生受教图 Mr.Dong Guo in Teaching 风景 Landscape 纸本彩墨 ink and color on paper 纸本水彩 watercolor on paper 3 3 1 1 67 × 45 cm 26 /8 × 17 /4 in. 33 × 26 cm 12 /2 × 10 /4 in. 款识：东郭先生受教图番禺关良 signed in Chinese with one seal 钤印：关良 one seal of the artist 钤印：关良 PROVENANCE 来 源： PROVENANCE 来 源： CollectedfromHuangQingxin,andConfirmedbyArtist’sFamily 直接得自艺术家家属 ProvidedfromArtist'sFamily 黄青新旧藏；经艺术家家属确认此来源。 RMB 150,000 - 300,000 RMB 300,000 - 600,000 現當代藝術夜場 ｜ MODERN & CONTEMPORARY ART EVENING SALE Lot 810 戏剧人物 林风眠 《戏剧系列：关羽义释曹操》 1960 年代作 Opera Figures 佳士得香港 2019 年 5 月 25 日 Lot.44 成交价：HKD 6,725,000 Lin Fengmian, Opera Series: Guan Yu releases Cao Cao at Huarong Trail, 1960s, Christies Hongkong 25 May 2019, Lot.44, Sold Price HKD 6,725,000 「林风眠在中国现代绘画史上占有独特的地位己是世界公认的了。因为他的开创使中国的艺 术家们能以现代的手法表达出完全中国化的感受,从西方艺术理念的影响中得到解脱。不少 有代表性的现代中国画家曾跟他学过画,包括赵无极、吴冠中、朱德群等,可见其影响有多 大。因此,他真正是中国现代绘画的先驱者。」 —苏立文 林风眠 Lin Fengmian 戏曲人物画是林风眠的一个标志性的画题，这个系 术结合起来，开启了中国现代艺术的新方向，“从 比强烈，同时又含有丰富的色调层次，如淡蓝、松绿、墨 列出现于20世纪50年代初。1951年，林风眠为了 民族形式中找到一条出路”。 绿，参杂在浓重的色调中，使那些被粗重的墨线分割的色 避免在艺术创作方面的批判与冲突，辞去中央美术 块显得不那么生硬。 学院华东分院的教职后，移居上海，开始在一个相 《戏曲人物》与林风眠在1960年代创作的《关公 对自由的空间内进行独立的创作。在这段闲居的时 与曹操》、《关羽义释曹操》有相似之处，可能是 林风眠的戏曲人物画借鉴了西方现代艺术的造型元素，比 间内，老友关良常邀请他去看京剧、绍剧，林风眠 同样的主题。方正的构图中，四个人物前后错落， 如毕加索的立体主义，马蒂斯的装饰性色调，他还从中国 逐渐迷上了传统戏曲。戏曲舞台上的形象、动作、 构成极具张力和戏剧性的结构。画家把戏曲人物的 民间剪纸和皮影戏中获得了灵感。在这幅画中，人物的稚 格局给他带来很大的启发，他从中提炼出一种个性 衣饰和动态进行了拆解，又重组为各种几何形，人 拙造型，夸张变形的动作就显示出了皮影戏的影响；平面 化的表达方式，不仅创作出抽象的、符号化的形 物头部是椭圆形，躯体上套叠着各种大小不一的椭 化的结构、分割的几何形和平涂的色彩则是来源于立体主 象，而且融合了中西绘画的技法，探讨了时间与空 圆形、矩形、三角形，几何形与直线、斜线、曲线 义。戏曲人物画对于对于林风眠而言，不仅只是一个新的 间的连续与对立的关系。林风眠的戏曲人物不仅是 铺排重叠、相互穿插、彼此交织，错综复杂又井然 题材，也让他从另一个角度重新进行中西艺术的调和探 个人风格的标志，在中国画的现代化进程上也占有 有序，形成节奏感和形式趣味。色彩浓郁饱满，以 索，他通过戏曲舞台的光影变幻成功地融合了多种技法。 京剧《古城会》剧照（改编自三国演义第 28 回） Peking Opera, Sworn Brothers, stage photos (Adapted from Romance No.28) 十分重要的地位，他将中国传统艺术和西方现代艺 青绿、赭红色调为主，各种色彩交错在一起，对 現當代藝術夜場 ｜ MODERN & CONTEMPORARY ART EVENING SALE 810 林风眠（1900-1991） LIN FENGMIAN (1900-1991) 戏剧人物——单刀赴会 Opera Figures - San Antonio 1950 年代初作 1950s 纸本彩墨 ink and color on paper 1 1 64 × 64 cm 25 /4 × 25 /4 in. 款识：风眠 signed in Chinese with one seal 钤印：风 LITERATURE 出 版： Chinese Opera Figure Painting Exhibition, Liu Haisu Art Museum, 《中国戏剧人物画大展》，刘海粟美术馆，2018 年 2018 展 览： EXHIBITED 中国戏剧人物画大展，刘海粟美术馆，上海，2018 年 Chinese Opera Figure Painting Exhibition, Liu Haisu Art Museum, Shanghai, 2018 来 源： 源于关良家属，藏家九十年代末期直接购自关良家属。 PROVENANCE From Guan Liang's family, the collector bought directly from Guan Liang's family members in Late 1990s. RMB 1,200,000 - 2,200,000 中国戏剧人物画大展，刘海粟美术馆，展览现场，上海，2018 年 Site View of Chinese Opera Figure Painting Exhibition, Liu Haisu Art Museum, Shanghai, 2018 現當代藝術夜場 ｜ MODERN & CONTEMPORARY ART EVENING SALE 811 林风眠（1900-1991） LIN FENGMIAN (1900-1991) 秋江 Qiujiang 纸本设色 ink and color on paper 3 3 67 × 67 cm 26 /8 × 26 /8 in.
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