陳蔭羆

款識：
GEO CHANN（左下）

洛杉磯安克洛姆畫廊
現美國藏者於1990年購自上述來源

〈藝術贊助人之青年聯展〉藝術租賃畫廊-紐波特港美術館（現橘郡美術館），巴博亞

This work is in very good condition. Under UV: there is no evidence of restoration.
"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."

「中國畫家用心靈作畫，西洋畫家用眼睛作畫。」
陳蔭羆

1960年代之後，陳蔭羆深居簡出，甚少參與外界藝術團體的聚會，在心靈上回歸平靜，潛心鑽研中華文化。在《暗夜》中，陳蔭羆以中國書法為創作啟發，以淺藍、墨綠、純白間以紅彩點綴的線條以斷斷續續、重重疊疊的姿態在深灰色背景上跳動閃爍，藝術家早期創作中的文字方塊已不復見，它們演變成曲折蜿蜒的細線，與畫面上色斑點點的搭配形成了絕妙的律動感。誠如中國近代文學家魯迅所言：「書法不是詩，卻有詩的韻味；不是畫，卻有畫的美感；不是舞蹈，卻有舞蹈的節奏。」在《暗夜》中，藝術家精湛的色感與亂中有序的布局能力和早年的創作比起來更加自由，在50至60年代實驗過各種作畫材質之後，他於此時更能信手捻來不同的拼貼技法，先於畫布上製造層層肌理，再運用自然灑脫的筆觸創造動感，真正做到了書法藝術所追求的韻律之美。《暗夜》與同場上拍的藝術家另一幅作品《香港街景》（拍品編號5023）皆出自曾於60年代幫陳蔭羆舉辦過個展的安克洛姆畫廊，現任美國藏家於90年代直接於此畫廊購入兩張作品，擁有絕佳的收藏來源。