陳蔭羆

款識：
GEO. CHANN（右下）藝術家鈐印（畫背）

亞洲私人收藏

This work is in very good condition. There is evidence of very minor craquelure, only visible under very close examination.
"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."

金石之變─陳蔭羆的抽象表現主義

五○年代以後，陳蔭羆回歸加州，美國藝壇亦展開了戰後的抽象表現主義浪潮，波洛克（Jackson Pollock）、麥克．托比 （Mark Tobey）的作品不僅給藝術家帶來嶄新沖擊，更啟發他透過中國金石銘文與碑拓，開展屬於他自己的抽象表現主義作品。在此系列中，他勇敢放棄之前的創作模式，以非常高密度的點和線，構成無透視的飽滿畫面，其饒富青銅斑鏽、碑拓風霜的質感與色彩，隱隱可見黃鐘大呂的甲骨籀文，或者張狂恣意的狂草筆跡，如果說美式抽象大師以原始的衝動力為藝術本源，則陳蔭羆的書法式抽象在即興、寫意之餘，依然富於東方文化的含蓄蘊藉，《碑之痕》（拍品編號5085）、《玉蝶蛻》（拍品編號5086）、《憶懷素》（拍品編號5115）、《書法變形系列》 （拍品編號5117）、《彩繪》（拍品編號5118）、《綺麗世界》（拍品編號5134）及《丹砂銘》（拍品編號5135）均呈現藝術家對於抽象色彩、構圖、線條與質感。由於時代條件的局限，旅美先驅的創作一般始於古典寫實而終於現代主義，陳蔭羆出身學風傳統的奧迪斯學院，而卒能創造一己之抽象風格，足見其畢生挑自自我、融會中西的追求。