潘玉良 站立裸女 水墨紙本

款識：
玉良 藝術家鈐印（右下）

歐洲私人收藏

This work is in very good condition. There is evidence of light tears along the bottom edge of the work. There are scattered black marks and Chinese characters on paper, presumably inherent to the nature of the medium.
"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."

註：右下方鈐印「總是玉關情」典出李白《子夜吳歌》。

作為中國最傑出的女性藝術家之一，潘玉良一世傳奇，在二十世紀初期中國傳統封建、保守的社會環境中，她不論卑微的出身，力爭上游，憑藉己身的天份與努力，在藝術世界裡，她發掘出一條屬於自我的道路。1925年，她以優異的成績畢業於巴黎國立美術學院，並獲獎學金至羅馬國立美術學院就讀；1929年她受上海美術專科學校校長劉海粟之邀，回國出任該校西畫系主任，在當時被評為「中國西洋畫家中第一流人物」

潘玉良將東方水墨繪畫中，最富生氣的線條與韻緻，融入西方常見的裸女主題創作，她筆下的線條時而剛強有力，時而俊逸優雅，此剛柔並濟、運用得宜的掌握功力，如同安徽美術館前館長胡欣民言：「潘玉良成功地將中國的筆墨精神和西畫的實體質感巧妙地融合在一起，呈現出既秀美靈逸又堅實飽滿的個性化審美情趣。」