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华艺国际17春拍:“东奔西走”下的人影阑珊

2017-05-09 13:35:53 来源: 华艺国际拍卖

摘要:中国油画最早起源于距今400年前,意大利天主教士利玛窦等人来华传教,把欧洲油画作品传入中国。经历了漫长的学习、吸收和成长过程,外来艺术发展成为中国绘画的组成部分。但是,因为特殊的文化背景,中国人物油画起步略晚。在新中国成立后,才形成一种规模性的艺术题材;而它的创作方式,也由最初的“中西结…

推荐关键字 华艺国际拍卖

  中国油画最早起源于距今400年前,意大利天主教士利玛窦等人来华传教,把欧洲油画作品传入中国。经历了漫长的学习、吸收和成长过程,外来艺术发展成为中国绘画的组成部分。但是,因为特殊的文化背景,中国人物油画起步略晚。在新中国成立后,才形成一种规模性的艺术题材;而它的创作方式,也由最初的“中西结合”逐步走向多元化进程。如今,中国艺术家在创作的时候不再拘泥于过去,在作品中或添加全球性的艺术新语言,或加入中国传统元素,使画面呈现出一种不仅新于西方油画,且新于传统水墨画的气息。

郭润文  Guo Runwen

远方  The Distant

布面油画  Oil on canvas

60x50 cm  2009

  创作于2009年的《远方》呈现出郭润文艺术的不同面貌,他以略显拙朴的笔触在纯熟的宾卡斯技法中找到了新的突破口,打破了原本古典细腻的刻画,以更为轻松的笔致描绘了一个女子小憩的景象,展现出对既往绘画的新思考。画面中女子侧坐,黑色的长发和暗下去的背景衬托出白皙红润的脸庞,白色的上衣及红色的衣裙勾勒出身体的轮廓,更显双手的柔嫩,而沙发的灰白则为整个画面烘托出一种祥和、宁静的气氛,明暗交替的细微处理充分显现出郭润文娴熟的色彩运用。小手指的微微垂落、侧头凝望的神态则暗示了女子内心的忧郁、思虑,而且通过背景似乎将这种思虑延续到画外。

李贵君  Li Guijun

中国菜  Chinese Cuisine

布面油画  Oil on canvas

110x83 cm  2000

出版:《李贵君油画艺术》 天津杨柳青画社 ,2002

The Art of Li Guijun's Oil Painting, Tian Jin Yang Liu Qing Art Society,2002

  作为第三代古典绘画的代表人物李贵君师靳尚谊、杨飞云,在西洋画的表现上倾吐着一种浓烈的中国情怀。《中国菜》一画中,李贵君把欧洲古典艺术中对讴歌生命的美转移到了中国交融传统、现代的少女之上,展现中国女性的灵与美。画面通过桌面、杖灯的直线衬托少女的圆润的曲线美。少女微曲的手指盘织着筷子,动作俏皮可爱,这样的描绘方式使画面更有生命力。另外,画面中的屏风、杖灯、筷子、红肚兜、瓷器和烤鸭都是人物中国身份的强调,隐现出强烈的民族自豪感。

孙洛  Sun Luo

浴女  Sunshine Bath

布面油画  Oil on canvas

140x60 cm  2006

  在观看孙洛的作品时,常为他的纯真、自在所触动,不禁让人想重拾那些被遗落的美好。孙洛的《浴女》中,描绘的是两个没有衣物遮蔽的女性在海边沐浴阳光。一人双手抱着后脑勺望向远方,另一人头顶白毛巾,架腿而坐,侧头沉思。女子姿态舒展,似是作者对女性曲线的、不造作的人体美纯粹赞叹。照射在少女身上并不是那种强烈的、直射的阳光,而是温柔、和煦的,更显得少女的闲适自在。此外,画面采用了大量中间色,编织出一种柔和而优雅的格调。背景中天、海、沙滩的渐变中,也似乎透出一种传统水墨画的意趣。

  细品人物,总会令人不自觉地想起希腊时期的人物雕塑,那些古时候最美运动员的身姿。他们没有多余的杂念,在阳光下自信地“炫耀”着自己的身体。那是身体巅峰期的完美呈现,宛如一支对青春的赞歌。

章犇  Zhang Ben

天象  Celestial

布面油画  Oil on canvas

120x90 cm  2012

  展览  EXHIBITION

  渐行渐远——章犇的绘画世界,华艺廊,中国广州,2012

  异视觉——新青年具象油画,华艺廊,中国广州,2013

  异乡——章犇的绘画,北京民生现代美术馆,中国北京,2015

  Fading away – Zhang Ben’s album of oil painting, Holly’s Gallery, Guangzhou, China, 2012

  A Different Visual – New youth representational oil painting, Holly’s Gallery, Guangzhou, China, 2013

  Stranger – Zhang Ben’s paintings, Beijing Minsheng Museum of Contemporary Art, Beijing, China, 2015

  出版  LITERATUER

  《渐行渐远——章犇的绘画世界》,华艺廊编,广东人民出版社,2012,P108-111

  《异视觉——新青年具象油画》,华艺廊编,2013,P125

  《异乡——章犇的绘画》,华艺廊编,岭南美术出版社,2015,P29

  Fading away – Zhang Ben’s album of oil painting, Holly’s Gallery Edited, Guangdong People’s Publishing House, 2012, P108-111

  A Different Visual – New youth representational oil painting, Holly’s Gallery edited, 2013, P125

  Stranger – Zhang Ben’s paintings, Holly’s Gallery Edited, Lingnan Art Publishing House, Guangzhou, China, 2015,P29

章犇  Zhang Ben

坠落  Falling

布面油画  Oil on canvas

90x135 cm  2012

  展览  EXHIBTION

  渐行渐远——章犇的绘画世界,华艺廊,广州,2012

  Fading away – Zhang Ben’s album of oil painting, Holly’s Gallery, Guangzhou, China, 2012

  出版  LITURATURE

  《渐行渐远——章犇的绘画世界》,华艺廊编,广东人民出版社,2012,P117

  Fading away – Zhang Ben’s album of oil painting, Holly’s Gallery, Guangdong People’s Publishing House, 2012, P117

  章犇生于皖南,学于北京,慢慢地步入艺术的殿堂并拓宽着自己。他琢磨过古代的坦培拉画法,钻研过文艺复兴早期绘画的叙事性绘图式,沉迷过象征主义。他的致学研究也同样反映在作品里,如出现在转折处的坦培拉式小笔排线、因欲望及现实斗争所带来的沉重感、一个个没有具体身份和社会属性的男性符号等。同时,他遵从着自己的内心,在线的构型中追寻超于物质的视觉体验。对于章犇来说,艺术链接人类内心深处的原初价值和情感。他自然写实的描绘下是对可见的世界与内心的表达,把无以用言语表达的情愫通过画面展现出来。

夏星  Xia Xing

多风的季节  The Windy Season

布面油画  Oil on canvas

81x65 cm  1987

  1987年的作品《多风的季节》是夏星早期在中央美术学院学习时创作的,当时夏星刚刚获得首届全国青年美展铜奖。作品是古典写实的手法勾勒下的女性肖像,透出一种沉静典雅的美感。身后的窗帘被微风吹起,通过窗帘的动态又使画面有一种动感。夏星认为他笔下的人物是没有下过“毒”,是一尘不染的清洁艺术本体。强调绘画语言的人文精神、务实精神是息息相通的,高度写实的油画技法,传统的中国人文精神、泱泱大国的文化胸怀,在当今“西化”过度的时刻,这无疑是为人们带来了一股清新的空气。

崔小冬  Cui Xiaodong

画室密语  Gallery Whispers

布面油画  Oil on canvas

130x160 cm  2003

  崔小冬对整个欧洲具象大师的技艺都有深入的了解,不怪于他的画面常透出不多见的古典味。笔触洒脱灵动,注重画笔下情绪的大胆外放,富含节奏感。同时,精彩的笔触对光阴的把控显得游刃有余,那似乎是画家对自己的一种严厉自律。正如陈丹青所说:“崔小冬的色彩厚重,笔法清秀、生猛,他既有北方造型的严谨,又有南方灵动笔法的结合,色彩很有力量。”他的画不止于艺术感染力,画面气氛的塑造也相当到位。画室之于艺术家来说,是私密且独立自在的存在空间。作品《画室密语》让观者直接走进画家的工作室。身穿长裙的持枪女子,裸体模特,坐在凳子上的男子。他们之间没有对话,但肢体语言中透露出静谧的亲密感,似是艺术家之间无声而默契的交流,构成一种生活气息浓厚的氛围感。

  总的来说,一是用笔激情洒脱,二是强调作油画感和书写性,三是他创作来自于生活,来自于现实生活里的一些场情,一些生动性的东西,他能够抓取这个,这是崔小冬的基本风格特点。——杨飞云

李卓  Li Zhuo

敦煌系列——追忆  Memory – The Dunhuang Series

布面油画  Oil on canvas

130x150 cm  2016

  李卓用古典写实的油画语言连接中国古代文明和现代人,用画笔带领着阅画人故国神游,与之一起寻觅一种古今间的和谐。在他的《敦煌系列——追忆》中,一缕阳光从画面的右上角挥洒在身姿曼妙的少女和斑驳陆离的敦煌古墙上。古壁画上的侍女们眯目内视,似是在追忆着过去;而现代的少女侧倚轻抚陶罐,闭目怀思,似是也在追忆着历史。画中画,思随思,环扣环的画面叙事下,笔法同时精湛而细腻,微小到壁画人物的表情、颜色变化,少女头上的一根根发梢,指甲上的上白月牙,陶罐上的一圈圈纹理,无一不细致入微。在深静的画面里给予人一种唯美的视觉体验,让人流连忘返。

沈宇飞  Shen Yufei

且听风吟系列之二

Listening to the Whiper of Wind No.2

布面油画  Oil on canvas

130x85 cm  2016

  即使油画艺术进入中国的时间并不长,但是独具中国韵味的艺术表达早已应运而生。沈宇飞的人物油画作品充斥着浓郁的中国情感元素,体现着东方情感的唯美优雅。迷人姿态和若有所思神情的精彩刻画下,女子的温文尔雅展露无遗。女子身上的衣物带着浓烈的东方气息,衣服的上段由蚕丝织成的,上面画着几朵“出淤泥而不染,濯清涟而不妖”的荷花;中段是镂空技艺下的花群;下段是以粗线接近网状图案织成的绿色荷叶。衣物的表达全靠颜色的微妙变化而成,色彩层次感把握得精确到位。远处逐渐暗下的背景是对主体人物的烘托,或许也是一种借海对东方女性的包容、内秀的性格隐喻。艺术家在一种自然安详的氛围里,把东方女性的美丽展现的淋漓尽致。

  The Shadowy Figures Wandering among the East and the West

  Oil Painting was introduced into China 400 years ago, when Matteo Ricci visited China from Italy as a missionary and he brought along oil painting techniques. Oil painting has become one of the most important categories in Chinese art, after going through a process of study, absorption and growth.

  Nowadays, Chinese oil painting artists are not only introducing western art into eastern, but adding a global art language to it. Therefore their works become more diverse to endow the western oil painting and eastern ink painting with new expressions.

  The Distant was created in 2009. Guo Runwen used Abraham Pincas’ oil painting technique to embark on a new breakthrough to make classical paintings.  The Distant forms a picture with strong compositions and tender sight. It depicts a lady resting on the chair, and her body is facing one side slightly, and her fair skin gets revealed against the dark hair and the brown-red background.  The red shirt and white jacket reveal the shape of her body and the softness of her hands. Her face is feminine. Her inner depression and doubt is highlighted against this comfortable and peaceful atmosphere.

  Li Guijun, Jin Shangyi and Yang Feiyun are representatives of the third generation of classical painting in China.  Their paintings reflect the aesthetics of Chinese culture.  In Chinese Cuisine, Li adapts the beauty of life in European classical art to a young and elegant Chinese lady.  The composition of the table and the light accentuate the lady's posture and the artist vividly portrayed the lady holding a pair of chopsticks.  In addition, the folding screen, the chinaware, the Peking duck on the table and the waistband skirt are important symbolic elements in Chinese culture.

  Looking at Sun Luo's artworks, the viewers’ inner feelings are often touched by his pure and peaceful images, which reminds them of the forgotten beauty in their life. The two nude woman portrayed by Sun Luo are plump, seductive and unconstrained to praise the beauty of body form. In this work, one of the nude ladies is putting her hands in the back of her head and her face slightly turned to one side.  Another woman is sitting on a rock with her upper body supported by her hands. The painting sets in a gray and yellow tone to show graceful features.  In the background, the gradient colors of the sky, ocean and beach are expressing the unique aesthetics of Chinse ink painting.

  Appreciating these two nude women, the viewers will think of lifelike Greek statues which praised the beauty of body form.

  Zhang Ben was born in the south of Anhui and later studied in Beijing, where he also stepped into the field of art and improved himself. He has studied classical tempera painting techniques and early Renaissance painting techniques, and developed an obsession with symbolism.  All these studies can be reflected in his artworks. His paintings have shown the artist’s struggle with the reality and his desires. There appear no social identities or male symbols in his art language. He is following his heart and he use lines to create a spiritual visual experience. For Zhang Ben, art connects with human beings’ primary values and emotion and he used realistic painting techniques to depict the inner feelings towards the world that no other languages can express.

  Season of Wind is one of Xia Xing’s early artworks during the period of CAFA studying. He created the piece when he had just won the third prize of the 1st National Young Artist Exhibition and Awards. It is a female portrait with fine realistic techniques and a sense of peace. The curtain behind was blown by the breeze, which created an even more realistic feeling to the audience. Xia Xing explains that the men and women from his painting are the last “unpoisoned” human beings, i.e. humans without any evil spirits in his opinion. This work is exquisite in style and form, full of humanism and love. It is an excellent representation of Chinese spirits and culture, bringing to us a refreshing breeze in today’s “over westernization”.

  Cui Xiaodong studied realistic painting thoroughly from the western masters. Thus his painting incorporates with classical art style.  The way he applied brushstrokes is bold and rhythmic.  As Chen Danqing said, Cui Xiaodong applied thick colors and vibrant brushstrokes to paintings. His paintings combine skillful drawing techniques from the north of China and the unconstrained skills of brushstrokes from the south of China. His color is full of power and the atmosphere he creates is touching people's heart. Studio is an intimate an individual space for artists, Gallery Whispers is inviting the viewer to come and see Cui's studio.  In this space, there are a lady holding a gun, a nude model and a man sitting on the chair. They have no conversations with each other, and their body languages create an intimate atmosphere, establishing a closer relationship between the artist and the viewers.

  To summarize Cui's art, firstly, his skillful brushstrokes are unconstrained. Secondly, he stresses the material of oil paintings as well as the sense of writing. Third, Cui's creation is based on his real life experiences. He can catch something of the life-likeness, and these are all Cui's basic art styles.

  Yang Feiyun

  Li Zhuo combines the classical languages with the modern ones by his artworks which show both traditional skills and expressions. He offers the audience the opportunity to take part in a tour going through various marvelous ancient landscapes. Together with the audience, he is trying to look for a sense of eternal harmony regardless of the time. In his Dunhuang series, a young lady lies leisurely in front of the fresco of Dunhuang with rays of sunlight. In the cave, the figures of ancient young ladies glance beyond with thoughtful expressions. So does the young lady in present. The identical emotion and expression beyond time was so vividly created by the artist. His techniques and skills are remarkable. The recreation of the marvelous fresco, colors and warmth of the sunlight, glistening dark brown hair of the young lady, the new moon shape of the tip of the lady’s fingernails, magnificent textures and detail of the ceramic bowl were all perfectly presented. It is indeed an attractive and unforgettable experience to the audience.

  Though it has not been long since Chinese artists took oil painting as a new skill to create art, a new art form adopting typical Chinese cultural elements occur soon in the field of oil painting, embodied with oriental elegance. With her beautiful gesture and enchanting eyes, the audience would be convinced that the young lady is an embodiment of virtue and elegance. The patterns and texture of the lady’s dress have oriental elements - made of fine Chinese silk, designed with lotus patterns which is a symbol of being true. The colours and conditipon of the dress are so vividly portrayed, which requires exceptional skills. The darkening background can be understood as a metaphor for the typical female charactereristics of being tolerant and educated. It is no doubt that the artist is praising the virtues of oriental females by the creation of this excellent artwork.

(责任编辑:王林娇)

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