- 561
丁衍庸 玫瑰瓶花 油彩木板 一九六六年作
估價
500,000 - 600,000 HKD
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招標截止
描述
- Ding Yanyong
- oil on board
款識 ：
Y. Y. TING 10/11/66（左下）
Y. Y. TING 10/11/66（左下）
來源
袁慧中重要收藏
展覽
《跨越東西遊戲古今─丁衍庸的藝術時空》香港藝術館，香港，二○○八年十二月十九日至二○○九年四月五日
出版
《跨越東西遊戲古今─丁衍庸的藝術時空》香港藝術館主編，康樂文化事務處出版，香港，二○○八年，十七頁，彩圖
Condition
This work is in good condition. There is evidence of scattered paint losses across the surface of the work, predominantly one paint loss 2 cm in length along the right edge, 23 cm from the bottom edge; one paint loss 6 cm from the left edge and 20 cm from the bottom edge of the work, consistent with the natural aging process of the medium. There is a dark grey accretion, 0.5 cm in length at the upper left corner of the painting. There is evidence of minor dust and accretions across the surface. 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."
"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
《玫瑰瓶花》：野獸派對話大寫意
在日本留學時期，丁衍庸受教於和田英作，接受學院派之基礎訓練，然而最引起藝術家關注的，卻是當時以馬蒂斯為首的法國野獸派，為他帶來重大啟發；歸國之後，丁衍庸覺悟油畫民族化之重要，於是埋首書畫篆刻，成為其油畫創作之另一要素。《玫瑰瓶花》曾參與2008至09年於香港藝術館舉行之丁衍庸回顧展，是藝術家靜物作品之典型。其採用平面化構圖，不求營造縱深，反而將瓶花、桌面、橘子以至牆壁合併為一層，瓶中兩株複葉，甚至畫成牆紙一般的紋飾，富於表現力和裝飾性；至於運色方面，藝術家使用純色，讓鮮明的黃、紅、橘、青恣意碰撞，產生明快的視覺效果，撩動觀眾的愉快情緒。
馬蒂斯鍾情東方織品，由此生出作品的鮮明色澤與繁富紋飾，丁衍庸在《玫瑰瓶花》有所攝取，卻顯出了東方特徵。野獸派重視畫面豐滿，用色多至密不透風，但藝術家卻利用大片白色為背景，是以國畫之留白，模仿日光照射，亦令周遭的色彩滿而不塞，而花瓶、花卉上之線條，更融入書畫篆刻之趣，力求樸拙天真，雖云東西合璧，亦最終銷融於藝術家強烈個性之中。
在日本留學時期，丁衍庸受教於和田英作，接受學院派之基礎訓練，然而最引起藝術家關注的，卻是當時以馬蒂斯為首的法國野獸派，為他帶來重大啟發；歸國之後，丁衍庸覺悟油畫民族化之重要，於是埋首書畫篆刻，成為其油畫創作之另一要素。《玫瑰瓶花》曾參與2008至09年於香港藝術館舉行之丁衍庸回顧展，是藝術家靜物作品之典型。其採用平面化構圖，不求營造縱深，反而將瓶花、桌面、橘子以至牆壁合併為一層，瓶中兩株複葉，甚至畫成牆紙一般的紋飾，富於表現力和裝飾性；至於運色方面，藝術家使用純色，讓鮮明的黃、紅、橘、青恣意碰撞，產生明快的視覺效果，撩動觀眾的愉快情緒。
馬蒂斯鍾情東方織品，由此生出作品的鮮明色澤與繁富紋飾，丁衍庸在《玫瑰瓶花》有所攝取，卻顯出了東方特徵。野獸派重視畫面豐滿，用色多至密不透風，但藝術家卻利用大片白色為背景，是以國畫之留白，模仿日光照射，亦令周遭的色彩滿而不塞，而花瓶、花卉上之線條，更融入書畫篆刻之趣，力求樸拙天真，雖云東西合璧，亦最終銷融於藝術家強烈個性之中。