- 603
張美莉 紅花艷蘋 水彩紙本 二O一二年作
估價
80,000 - 120,000 HKD
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招標截止
描述
- Zhang Meili
- watercolour on paper
款識：
張美莉（下方）張美莉 藝術家鈐印（畫背）
張美莉（下方）張美莉 藝術家鈐印（畫背）
來源
亞洲私人收藏
Condition
Thi work is overall in excellent conditon.
"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."
"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."
拍品資料及來源
張美莉原藉福建泉州，畢業於福建師範大學美術系，擅長水彩，其作品《蔬菜》和《鮮魚》，曾分別入選於第六屆和第八屆的全國美展。張氏創作自成一路，對水彩的透明特質刻意棄而不用，偏愛做出若油彩一般濃重艷麗的效果。靜物主題是她最擅長的題材，在高明的寫實技巧底下，各式蔬果都似被攝進畫面，造型嚴謹真確，色澤豐滿欲滴，她曾被讚譽道「手揮彩筆紙上過，畫中景物百媚生」。
《妃子笑》和《紅花艷蘋》是張美莉水彩作品的典型。後者延續西方藝術的靜物寫生，但她偏好熱鬧豐富的構圖，在此張美莉不僅安排了多種花卉插滿花瓶，連原本深沉的花瓶和桌子，都特意挑選能夠反光的玻璃材質入畫，不但使桌面透過倒影增添色彩，連原本不入畫面的窗子，也在花瓶的反射中顯示出來；對於不求甚解者而言，《妃子笑》表面同樣是靜物寫生，但藝術家在挑選荔枝的時候，不用色澤更為充實紅潤的品種，偏偏選擇外殼紅綠斑駁的妃子笑，正是看中其背後的文化含義—唐朝楊貴妃嗜吃荔枝，但荔枝產地遠在嶺南，倘若離枝，則一日變色，二日變香，三日變味，四五日後，色香味盡失，於是唐明皇下令每日快馬加急，使荔枝能新鮮運到長安，晚唐杜枚詩云「一騎紅塵妃子笑，無人知是荔枝來」，便是此種的名稱由來。典故一明，作品的韻味即更為深厚。
《妃子笑》和《紅花艷蘋》是張美莉水彩作品的典型。後者延續西方藝術的靜物寫生，但她偏好熱鬧豐富的構圖，在此張美莉不僅安排了多種花卉插滿花瓶，連原本深沉的花瓶和桌子，都特意挑選能夠反光的玻璃材質入畫，不但使桌面透過倒影增添色彩，連原本不入畫面的窗子，也在花瓶的反射中顯示出來；對於不求甚解者而言，《妃子笑》表面同樣是靜物寫生，但藝術家在挑選荔枝的時候，不用色澤更為充實紅潤的品種，偏偏選擇外殼紅綠斑駁的妃子笑，正是看中其背後的文化含義—唐朝楊貴妃嗜吃荔枝，但荔枝產地遠在嶺南，倘若離枝，則一日變色，二日變香，三日變味，四五日後，色香味盡失，於是唐明皇下令每日快馬加急，使荔枝能新鮮運到長安，晚唐杜枚詩云「一騎紅塵妃子笑，無人知是荔枝來」，便是此種的名稱由來。典故一明，作品的韻味即更為深厚。