全山石

款識：
全山石（右下） 天山（畫背）

亞洲私人收藏

〈China〉德芝美畫廊出版，台北，彩圖

This work is overall in good condition. The overall surface is varnished. There is a hair attached in the top left corner, probably inherited from the original creation. There are slight and stable craquelures on the trees near the middle of the left border. There are two minor paint losses near the middle of the upper border. There is evidence of scattered spots of retouching seen 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."

全山石1930年生於浙江寧波，1959年畢業於國立杭州藝專，翌年由國家派選前往蘇聯學習美術。在海外學習的六年中，全山石廣泛吸收俄國和歐洲的文化藝術，並於假日參觀各地的博物館和古跡，也旅行至鄉村寫生，培養出堅實的西方油畫寫實技巧。回到中國的全山石被聘請至母校杭州藝專任教，並於早年創作了一系列具有歷史題材的傑出作品。藝術家曾言：「油畫這種西方來的東西，我們中國人首先應該把它研究透了，掌握了，再談變化，而不是馬上就提出一個油畫民族化。」《天山》一作中，全山石將橫亙新疆中部的天山山脈作為遠景，雖然佔了畫布約三分之二的空間，但藝術家的筆法和陰影效果處理得當，使雪景不只晶瑩剔透，純白無瑕的山脈上，以油彩創造的肌理層次亦相當鮮明。前景的草皮和中央的小徑以藝術家精準的油畫透視法呈現立體感，賦予下方兩位騎著牲口的新疆村民生命力，彷彿他們正緩緩向遠方的山脈前進。《天山》整體構圖空闊大器，後方大片的白雪靄靄衍生一寫意自然的悠遠境界，為全山石油畫創作的精彩體現。