王勁松

一九九二年作

香港, 漢雅軒畫廊
現藏者購自上述來源

This work is generally in good condition. There are hairline craquelures on the male figures' black trousers, most noticeably on the central figure. Having examined the work under ultraviolet light, there appears to be some restorative work on the white-faced figure's face, as well as near the right-most female figure on the right, all of which is not noticeable under natural light.
"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."

畢業於浙江美術學院的王勁松，原為水墨畫專業。九十年代，他選擇以油畫作為主要創作語言，並成為繼方力鈞及劉煒之後，玩世現實主義潮流的其中重要一員。王勁松的作品以中國社會為根基，作品往往看到時代氣息。《天安門前留個影》創作於一九九二年，是藝術家早期的油畫系列。作品以天安門為背景，門前為一班拍照的旅客。王勁松把天安門，從政治事件的場景變成一個熱鬧的遊客景點，嘲諷了這個政治舞台及消解當中沉重歷史，緊扣著九十年代初期中國藝術圈內的低氣壓，表現著藝術家對八十年代理想主義的失落。作品的繪畫風格有著超現實主義的況味，藝術家把後排的人物留白，讓作品帶著未完成的感覺。而這有著中國傳統繪畫影響的繪畫手法，亦在他後來著名的〈一孩家庭〉系列中看到，影響一直延到今天。王勁松於九十年代中期開始由油畫轉向攝影及錄像，包括共計二百張的大型攝影作品〈一孩家庭〉，及以北京城市清拆的攝影系列，把社會議題帶到創作之中。