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趙無極 (1920-2013) 無題
香港
2021年05月24日 开拍 / 2021年05月22日 截止委托
拍品描述 翻译
趙無極
趙無極 (1920-2013)
無題
油彩 畫布 裱於板
30.5 x 40.5 cm (12 x 16 in.)
1948年作
款識:無極ZAO 1948 (左下);ZAO Wou-Ki 30,50 x 40,50 1948 (畫背)
Lot Essay “After my arrival in Paris, I decided to stop painting in ink; I do not want to indulge in the Chinese taste.” Zao Wou-ki, Self-portrait, p. 47 It was a bright and chilly day in February, 1948. Zao Wou-ki and his wife boarded Andre Lebon, a French liner departing from Shangai. They bid farewell to their whole family and emarked on a journey to Paris, where Zao would begin his new chapter in his artistic endeavour. Incidentally, this is very same liner that carried Lin Fengmian to the same city in 1913. After 36 days, Zao arrived in France. In this cultural hub that attracted many eminent artists from around the globe, Zao would break ground with his new vision. Untitled, painted in 1948, was precisely one exemplar from his earlier years in France. One senses in this painting, behind all its dynamism, the artist’s deepest longing through the medium of oil. But it might well mark the early days of his new flaming passion; as a matter of fact, one discerns elements that would later feed into his mature painting theory that encompasses Chinese and Western ideals in the following decades. Works from his early French years are extremely rare and this 1948 painting has never even appeared in the market. It is therefore no exaggeration to say that this is one of the most significant early Zao Wou-ki paintings to come out in recent years. On the first day on the French territory, after leaving his luggage, Zao wasted no time and rushed immediately to the Louvre. The first encounter with some of the greatest Western masters in the museum must have been life-transforming, as it was at that moment that the young artist proclaimed that he “no longer wanted to be a Chinese painter”. According to later personal recollections, Zao was indeed overwhelmed by the epoch-defining works there at the time: “I was absolutely astonished by these Fauvists. Their colour treatment gives rise to the pictorial space; these are some of the boldest and wildest colours. Surrounded by the Cubist paintings, I almost completely lost my mind also. The dissected movement, cut-up surface, deconstructed space—I didn’t even know that one could depict space in such diverse manners and that a painting could be this multidimensional. How wondeful!” Along this line of the artist’s own description, one can further appreciate the myriad pictorial elements within this painting. The four houses are delinated in simple but audacious geometric forms and lines, alluding not only to Cezanne’s revolutionary structuralist approach, but also to Picasso’s Cubist exploration. Every single brushstroke carves deep into the canvas, laying the foundation for Zao’s later symbolic Oracle Bone series. As for his colour treatment, the artist experimented with thick paint and light wash that together pictorialize the soft meadow in the village and the sky above. Encircling the picture is a swirling ring of intense energy. Constantly oscillating between the dense and the light, this ink-like misty ring-band serves to tell the many untold stories originating in the mountainous village. As such, Untitled can be seen a pioneering exemplar, an early mediation of Zao’s later iconic paintings that fuse our great Eastern and Western traditions.

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拍品估价:3,800,000 - 5,800,000 港币 起拍价格:3,800,000 港币  买家佣金:
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