趙無極

紐約，馬伯勒畫廊
現藏者於2005年購自上述來源

This work is in very good condition. There is no evidence of restoration under UV.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

《綠與紫》完成於2005年，畫幅呈現兩股靈感巨流之交匯，既有傳統西方油彩中的飽滿筆法，從碧綠到靛藍，層遞漸變，亦有中國水墨般的灑脫線條，玄青纖細，組成一幅抽象而錯綜複雜的構圖。

在畫面的有限空間內，趙無極譜出世間萬色無盡的交流互動，形成一片神秘夢幻的心靈淨土。1969年，法國藝評家赫雷·德·索列爾問趙無極其最愛顏色為何，他答道：「我愛所有的顏色，沒有最偏愛的，我是個敏感的人，對細微的變化和律動尤其如是。」尚·雷馬列在其1978年專題論著中謂：「這簡潔的答案就是他的作品及其奧妙核心所在之一。（……）因此在趙無極眼中，色彩不是具體物質而是光之映像，它們與具象圖案並不矛盾。它們為空間注入生命，表現出光線的流動。」（尚·雷馬列，《趙無極》，紐約，1979年，44頁）

趙無極於此畫運用「以濕壓濕」技法，營造連貫流暢的力量，深邃悠遠，彷如自然奇觀。清初擅長山水的畫家石濤作畫便十分著重個人觀點與留白，趙無極追求的內心表達與石濤不無相通之理。趙無極一生不斷在各種迥異的靈感基礎上發展創新，《綠與紫》便是當中的典例。