- 24
毛焰
估價
3,000,000 - 5,000,000 RMB
招標截止
描述
- Mao Yan
- 油畫二畫室
- 款識
Mao Yan，89.11
毛焰，《油畫二畫室》 (作品背面) - 油彩畫布 畫框
一九八九年作
Condition
This work is generally in good condition. Some hairline craquelures along the edges. Under raking light, vertical craquelures are visible throughout the canvas, most noticble ble around the figure's left shoulder, right hand, and center of the skirt, with the longest measuring approx. 10 cm. Under UV light: there is no evidence of restoration. Please note that it was not examined out of the 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."
"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."
拍品資料及來源
天才敏感者
毛焰
一九六八年出生於湖南湘潭的毛焰自幼跟隨父親學習繪畫，十幾歲便已嫻熟掌握多項繪畫技法，在當地被視為少年天才。一九八七年，毛焰毫無懸念地考入中央美術學院油畫系第二工作室，與後來同樣蜚聲畫壇的劉小東、方力鈞和趙半狄等人成為同窗。在校期間的毛焰，已然彰顯出了卓絕的技藝與天賦的感受力，出類拔萃的他更獲得了「技術神話」的讚譽。一九八九年，《漁女》獲中央美術學院八八年度學生優秀作品展三等獎；一九九〇年，《女人體》在翌年的畢業展覽中大放異彩；一九九二年，廿四歲的毛焰以《小山的肖像》拿下了「九十年代藝術雙年展（廣州）」學術獎，毛焰由此聲名鵲起。而後，毛焰的作品頻頻出現在以「中國油畫」、「中國當代藝術」、「中國當代藝術學術」命名的各種年展、雙年展、百年回顧展、邀請展之類大型展覽上，一九九六年，廿八歲的毛焰已經位列中國油畫學會理事行列。批評家栗憲庭曾評價道：「毛焰的作品放在歐洲任何博物館的大師作品前，都毫不遜色。」
毛焰
一九六八年出生於湖南湘潭的毛焰自幼跟隨父親學習繪畫，十幾歲便已嫻熟掌握多項繪畫技法，在當地被視為少年天才。一九八七年，毛焰毫無懸念地考入中央美術學院油畫系第二工作室，與後來同樣蜚聲畫壇的劉小東、方力鈞和趙半狄等人成為同窗。在校期間的毛焰，已然彰顯出了卓絕的技藝與天賦的感受力，出類拔萃的他更獲得了「技術神話」的讚譽。一九八九年，《漁女》獲中央美術學院八八年度學生優秀作品展三等獎；一九九〇年，《女人體》在翌年的畢業展覽中大放異彩；一九九二年，廿四歲的毛焰以《小山的肖像》拿下了「九十年代藝術雙年展（廣州）」學術獎，毛焰由此聲名鵲起。而後，毛焰的作品頻頻出現在以「中國油畫」、「中國當代藝術」、「中國當代藝術學術」命名的各種年展、雙年展、百年回顧展、邀請展之類大型展覽上，一九九六年，廿八歲的毛焰已經位列中國油畫學會理事行列。批評家栗憲庭曾評價道：「毛焰的作品放在歐洲任何博物館的大師作品前，都毫不遜色。」
毛焰是最早一批將西方表現主義風格糅合進自己創作中的中國藝術家，他一方承襲了古典主義肖像繪畫的追求，一方深刻地接受到來自二十世紀初奧地利天才畫家埃貢·席勒的影響，着重刻畫人物內在的心理狀態和精神形象，形成了其一種獨特的 「精神自畫像」。一九八九年後，中國的知識分子信仰破滅，作為那個時代的天才敏感者，毛焰畫筆下的人物充滿着惶恐不安的情緒，創作於一九八九年十一月的《油畫二畫室》（拍品編號24）便是這個時期的發端之作。這件作品為典型的畫室寫生創作，而毛焰卻將端坐在寫生台上的女青年刻畫得敏感、躁動與不安。女青年的面部肌肉僵硬，凌厲的顴骨與下頜刻度出緊張的神經，繃緊的嘴角略微下垂，凹陷的眼窩中一雙側目逼視的眼睛看起來惶惑迷茫，而左右長度不齊的髮型則顯得生硬而古怪。女青年的坐姿則通過肩膀、胯骨、膝蓋的三條斜線呈現出一種僵直的坐立不安之感，即便是毛衣與裙擺的褶皺都帶着一副僵挺的表情，而雙手更是局促得無所適從。畫面中人物的緊張情緒在一體赤銅與青灰交雜的色調中顯得更為黯然與失落。
栗憲庭認為：「毛焰作品的精彩之處是他獨特的筆觸，塑造對象尤其是臉部所用的明暗斑駁的技巧，給人一種神經質的敏感和緊張感，彷彿每一個小筆觸都是一個神經末梢，在一明一暗的斑駁中流露出不安、疑慮。」1 透過毛焰的肖像作品，我們直視的是藝術家本人內心的精神寫照，在時代的碾壓之下，每一個孤寂壓抑、沮喪失落的靈魂都在這裡找到映射。
1《形神與筆墨》，傅新生，2008年