羅中立

款識：
Luo（右下）

亞洲私人收藏

The work is in good condition. It is mildly wavy at the top. There are minor paint chippings on the woman's right arm and scattered minute flaking. There is a one-cm long scratch below the woman's right breast and two scratches towards the right edge, 12 cm to the bottom. 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."

大巴山的靈魂：羅中立

憑著《父親》在1980年撼動中國文藝界之後，一夕成名的羅中立並沒有迷失自我，反而更加堅信農民題材將會是其終生不懈的藝術追求；即使在1986年從比利時學成歸國，他仍然沒有被當時中國盛行的八五新潮運動影響，仍繼續堅持著自己原本的創作道路，就像他欣賞的法國畫家米勒（Millet）及比利時畫家布魯格爾（Pieter Brugel the Elder）般，為辛苦付出卻常被忽略的鄉村農民發聲。

今日，羅中立筆下的農民已不再是當年苦楚和憂愁的純寫實形象。完成於1990年，本次上拍的三幅羅中立作品《晨洗》（拍品編號5091）、《巴山雨》（拍品編號5092）、《梳妝的女人》（拍品編號5093）皆呈現出勞動農民的形象。畫家不以純寫實的細緻手法描繪畫中人物，反而運用粗獷的油彩筆觸，將農民們的姿態和神情、終日為農作操勞的雙手和被太陽曬紅的肌膚忠實呈現，畫中人彷彿在藝術家的筆下都有了自己的生命。

羅中立的農民有著不合比例的誇大身形，但正因畫家對他們的尊重和愛，他不僅看到了農民的善良和純樸，也希冀觀者能從畫中感受到中國農民對鄉村土地的貢獻。

羅中立曾表示，寫實主義扎根於生活，而生活是豐富多彩的，因此寫實主義也會永遠呈現出多采多姿的面貌。他的藝術不是機械地模仿，而是通過感情體驗、把握藝術的真諦，只要作者對現實生活是真誠和充滿感情的，他所表現的畫面也必然是有個性的。農民的風土民情是羅中立藝術創作上取之不盡、用之不竭的泉源，他努力收集繪畫題材，將畫面的色調單純化，人物的背景簡化，在保有其特性的鄉土寫實主義風格的基礎上，試圖融入自己獨有的現代繪畫語言。