朱沅芷

款識：
Yun沅（右下） 7/29/26 To Mr. Otis Oldfield（左上）

歐提斯·歐菲德收藏
現任藏家繼承自上述來源

保羅畫廊，舊金山，一九二六年八月
加州藝術學校，舊金山，一九二六年

This work is in very good condition. There is evidence of slight undulation across the surface and minor foxing along the edge and at the right corner of the work. This work is not examined out of frame.
"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."

《歐菲德像》是朱沅芷最早的共色主義繪畫之一，其以恩師為模特兒，創作方法亦呼應歐菲德的授課方針：「畫全在紙上創作，必須將整個畫面塗滿顏色，學生不准在調色盤上任意調色。不經素描，而從畫面正中心直接向外畫出，並且只能使用純色。因為紙面迅速將顏料吸乾，就可摒除修改的弊端，而產生良好效果。」與巴黎和紐約時期相較，此時的朱沅芷喜用強烈的色彩對比，突顯物象輪廓，提升視覺效果。歐菲德的面部和五官經過仔細觀察、分析，再以不同形狀、顏色重新組合；及至面部以外，藝術家則放手使用更大塊面，可見其從中心向外幅射的創作過程。此外，朱沅芷以色塊組構頭像之時，仍然以黑線勾勒出一方框，藉此模擬畫平面（picture plane）以拿揑位置，留下了探索共色主義之痕跡。