鍾泗濱

直接得自藝術家
私人收藏，新加坡

The work is in good condition overall, as is the canvas, which is clear and sound. There is indication of light wear and handling along the edges and margins, along with associated minor abrasion and a slight undulation located on the lower right corner, however only visible upon close observation. There is evidence of stable gentle craquelures throughout the surface of the painting, predominantly on the lower left area. (The longest craquelure measures approximately 6 inches diagonal to the bottom left corners.) Under ultraviolet light examination, there are signs of restoration scattered around the bottom right area, the right margin and a single spot located on the upper left quadrant. Framed.
"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."

鍾泗賓是新加坡現代藝術的先鋒。他擁有澎湃的創造力，在藝術生涯中的不同時期試驗過多種不同媒介、題材和藝術風格，充分展現其美學上的實驗精神。他是南洋藝術運動的推手之一，使新加坡現代藝術的面目煥然一新。鍾氏的作品往往融合了中西方的美學意境和繪畫技法，創造出獨特的藝術表現手法。畫家嘗試透過畫作表現這種東西融合關係，《自然I》的構圖正是一個優秀的例子。

鍾泗賓的藝術教育受到三十年代日本侵華戰爭影響。鍾氏因戰時油彩等顏料短缺而習水彩。他學習過中國傳統山水畫，因此中國文化背景對其藝術創作影響深刻。他在四十年代中期舉家移居新加坡時，在傳統水墨畫方面已有一定的造詣，為其後來中西並蓄的風格打下了基礎。

《自然I》是畫家的重要作品之一，它顯示畫家已脫離早期所學的古典畫法並自創新風。在此作中畫家巧妙地以西方角度描繪一個似假似真的亞洲風景；這幅畫代表了畫家在這個時期所偏好的風格和主題，其後來的作品亦多以此為基調。

鍾泗賓曾遊歷四方，豐富的旅行體驗給予他源源不絕的創作靈感，其作品也反映了這些異地見聞；當中尤以印尼和歐洲之旅對他影響最深。印尼峇里島的民風和景觀對他啟發良多，這些異域元素在他的作品中尤為突出。鍾氏一生的作品也與印尼關連密切。

然而，畫家在技法及風格方面的重要轉折始於其歐洲之旅。1955年鍾泗賓與幾位南洋藝術家一同到英國出席他們的作品聯展。到了1962年鍾氏首次獨自前往歐洲參與多個展覽，向外國觀眾介紹其作品。

鍾泗賓的作品曾在倫敦多個著名畫廊展出，包括Frost and Reed 和 Redfern。他亦藉此觀摩歐洲畫壇巨匠如畢加索、夏加爾、馬蒂斯、保羅·克利和布拉克等人的作品，其中保羅·克利最為鍾氏所欣賞；克利在抽象風景畫中對光影的運用深深打動了他。

此作進一步展現鍾泗賓銳意試驗抽象形態和創新的微妙變化。與兩件早期作品《二十一個抽象構圖》（21 Studies in Abstract Composition）和《莊嚴》（Solemnity）（圖一及圖二）相比，《自然I》反映出畫家當時在藝術上已臻成熟。畫中極富感染力的筆觸是畫家年輕時學習過水彩畫的印記；畫家用鮮明的色彩和質感為夜景增添氣氛，成功表達了畫中故事的細膩詩意和空間感。

鍾泗賓在首次個人歐洲之旅後數年創作了《自然I》，當中明顯可見該次旅程對他的影響。印尼給予他視覺靈感；而歐洲之旅則直接影響了其技法和作為藝術家的自信。