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瓊·米切爾
賽耳底
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拍品已售 56,513,000 港幣 成交價 (含買家佣金)
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1080
瓊·米切爾
賽耳底
估價
Premium Lots
In order to bid on "Premium Lots" you must complete the required Premium Lot preregistration application and deliver to Sotheby's such necessary financial references, guarantees, deposits and/ or such other security as Sotheby's may in its absolute discretion require, as security for your bid. Sotheby's decision whether to accept any pre-registration application shall be final. We recommend you contact Sotheby's at least 3 working days prior to the relevant sale in order to process the pre-registration, and please bear in mind that we are unable to obtain financial references over weekends or public holidays. If all lots in the catalogue are "Premium Lots", a Special Notice will be included to this effect and the paddle symbol will not be used.
Irrevocable Bids
Lots with this symbol indicate that a party has provided Sotheby’s with an irrevocable bid on the lot that will be executed during the sale at a value that ensures that the lot will sell. The irrevocable bidder, who may bid in excess of the irrevocable bid, will be compensated based on the final hammer price in the event he or she is not the successful bidder or may receive a fixed fee in the event he or she is the successful bidder. If the irrevocable bidder is the successful bidder, the fixed fee (if applicable) for providing the irrevocable bid may be netted against the irrevocable bidder’s obligation to pay the full purchase price for the lot and the purchase price reported for the lot shall be net of such fixed fee. If the irrevocable bid is not secured until after the printing of the auction catalogue, a pre-lot announcement will be made indicating that there is an irrevocable bid on the lot. If the irrevocable bidder is advising anyone with respect to the lot, Sotheby’s requires the irrevocable bidder to disclose his or her financial interest in the lot. If an agent is advising you or bidding on your behalf with respect to a lot identified as being subject to an irrevocable bid, you should request that the agent disclose whether or not he or she has a financial interest in the lot.
Sotheby's Ownership Interest
Property in which Sotheby's has an ownership interest. Lots with this symbol indicate that Sotheby's owns the lot in whole or in part or has an economic interest in the lot equivalent to an ownership interest.
50,000,00070,000,000
拍品已售 56,513,000 港幣 成交價 (含買家佣金)
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拍品詳情

當代藝術晚間拍賣

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香港

瓊·米切爾
1925-1992年
賽耳底
一九六一年作
款識
《Syrtis》,Mitchell(作品背面)
油畫畫布
130 x 162 公分 ,51⅛ x 63¾ 英寸
參閱狀況報告 參閱狀況報告

來源

斯德哥爾摩,Svensk-Franska Konstgalleriet
瑞典私人收藏
倫敦私人收藏
Levy Gorvy 畫廊
現藏者購自上述來源

展覽

瑞典,斯德哥爾摩,Svensk-Franska Konstgalleriet〈Tendenser〉一九六二年,圖版編號36

相關資料

「不多幾時,狂風從島上撲下來,那風名叫友拉革羅。船被風抓住,敵不住風,我們就任風颳去。貼著一個小島的背風岸奔行,那島名叫高大,在那裡僅僅收住了小船。既然把小船拉上來,就用纜索捆綁船底。又恐怕在賽耳底沙灘上擱了淺,就落下篷來,任船飄去。」

《使徒行傳》第27章:14-17節


瓊·米切爾的《賽耳底》絢麗奪目,激烈狂暴,卻帶著書法般的優美底蘊;畫布上迸發出一團別具異域風情的色彩,交織成一渦令人陶醉的湍流,色澤之豐沃穠豔,在見諸拍場的米切爾作品中當數一二。《賽耳底》作於一九六一年,是畫家移居法國後的兩年,作品命名自大名鼎鼎的瑟提斯沙灘──這是兩片變幻莫測的地中海海灣,位處利比亞,對出海域因為水淺而凶險異常。很多古代文獻均有記載,當時的水手形容,船隻會在危險的沙洲或沙灘上擱淺,本作體現的正是潛藏在自然、沙地和海洋的冷酷無情之美,恢弘壯闊,卻令人生畏。深廣的畫布上揮灑著米切爾飽含情感的筆觸,激發顏色與線條、理性與感性之間的交流,大開大闔,又細膩微妙,凝聚成一股不可阻擋之勢,呈現一系列不斷超越自我的內心活動,從不安到接納,然後重整旗鼓,獲得勝利。《賽耳底》展示了米切爾的嫻熟造詣,情感直白熾熱,其中洶湧而至的即席揮毫和不容置疑的經典風格,幾乎一如六十年 前,那時米切爾才剛奠定她作為抽象表現主義成功女性藝術家的名氣。

瓊·米切爾一九二五年生於芝加哥,年少時已對視覺藝術和運動尤感興趣。她曾就讀於史密斯學院和芝加哥藝術學院,隨後在一九五〇年搬到紐約。米切爾很快就被紐約畫派接納,畫派地位尊崇,成員多為地位顯赫的男性藝術家,包括傑克森·波拉克、馬克·羅斯科和巴奈特·紐曼。米切爾與一眾抽象表現主義的男性藝術家旗鼓相當,她憑著獨一無二的繪畫語彙,糅合熱情奔放的筆觸和深思熟慮的構圖,將肆意張狂的熱情和冷靜自持的優雅融為一體,為自己在藝術圈爭取到一席之位。一如波拉克直接將罐裡的顏料潑灑至畫布表面、把熱烈的思緒轉化成滴畫的手法,米切爾以不可思議的氣勢揮動畫筆,或偶爾用手向畫布上猛力撇甩或塗抹顏料,展示內心的焦慮。不過有別於波拉克鋪天蓋地的構圖,米切爾感情豐沛的筆觸通常聚在一處,彷彿畫面中央隱藏著一股向心力,所有顏色纏繞層疊,透過精心安排,營造出看似漫不經心的優美構圖。借用克勞斯·柯鐵斯(Klaus Kertess)的話,米切爾的創作「比前人多了幾分籌謀,並更在意尋找美之所在」(克勞斯·柯鐵斯,《瓊·米切爾》,紐約,一九九七年,22頁)。

一九五九年,那時離《賽耳底》的誕生尚有兩年,米切爾從紐約移居巴黎,並搬進位於菲彌古路十號的狹小工作室。對此,約翰·阿什伯里(John Ashbery)評論道:「這樣一位藝術家在巴黎的環境中似乎成熟得更緩慢、更自然」(約翰·阿什伯里,〈一位表現主義者在巴黎〉,《藝術新聞》,第64期,一九六五年九月,63頁)。儘管在競爭激烈且以男性為主導的紐約藝術圈裡,米切爾經常感到自己的鋒芒被掩蓋,或被排擠到邊緣,在巴黎,她卻能找到自己的聲音,培養出自我風格和視野。身處新環境的米切爾也深受歐洲後印象派薰陶,當中尤以梵谷的斑斕用色、塞尚的重疊幾何平面及克勞德·莫奈的光線掌控為重。她以多年練就的功底和來自紐約的藝術體統,融合各方的影響,冶煉出屬於自己的視覺語彙,與波拉克的滴淌、紐曼的細線、羅斯科的層疊平分秋色。

一九六〇年,即移居巴黎後一年,也是創作《賽耳底》之前,米切爾在納維爾畫廊舉辦首次個展。而同一時期,即六〇年代初恰逢米切爾人生的低潮,她的母親在一九六〇年確診患癌,父親則在一九六三年因心臟病離世。因此她在巴黎的創作,尤其是一九六〇至六二年之間的畫,不止反映擔憂、暴力和揪心之感,更重要的是表達畫家希望衝出低潮的決心。米切爾將這段時期的畫形容為「非常暴力和憤怒……[我當時]嘗試走出暴烈的風格,進入另一番境界」(琳達·諾奇林,〈瓊·米切爾:化悲憤為圖畫〉,摘自展覽圖錄,紐約,惠特尼美國藝術博物館,《瓊·米切爾的畫作》,二〇〇二年,50頁)。

《賽耳底》成畫於一九六一年,證明畫家希望從紛亂中理出頭緒,這股決心催生出這幅暴風疾雨般的作品,當中蘊藏著巨大的感官和視覺深度。米切爾把作品分成圖像和背景,摒棄第一代抽象表現主義藝術家主張的無焦點構圖,在畫面巧妙暗示一個存在或一處焦點區域作為構圖重心,留待觀眾細細揣摩。血 紅、翠綠和鮮橘交織碰撞,層層堆疊在畫面正中,再漸漸向邊沿舒張,伸展出單獨的線條。這個漸變的結構拿捏得恰到好處,中央「主體」的周圍環繞著捉摸不定的氣息,使其形態愈顯犀利;畫布承載著米切爾激昂卻克制的筆觸,掀起充滿活力的起伏波濤。正如琳達·諾奇林闡釋道:「涵義和強烈的情緒來自結構,組成部分姑且可以稱為一系列相反的元素:濃厚或輕透的筆觸,嚴謹有序或混亂率性的構圖,集中在畫面上方或下方的重心,明亮或陰暗,斷續或連續的線條,協調或對比的色調──這一切都是涵義和情感的有力表現」(琳達·諾奇林,〈瓊·米切爾:化悲憤為圖畫〉,摘自展覽圖錄,簡·利文斯通,《瓊·米切爾的畫作》,惠特尼美國藝術博物館,紐約,55頁)。

一九六一年,米切爾在昂蒂布海岬度過夏天,《賽耳底》的用色令人不禁想起法國蔚藍海岸的明豔色彩,那裡有燦爛的金色陽光,赤陶方磚,還有地中海波光粼粼的蔚藍海水。本作狂野激越,同時優美典麗,既出自畫家不假思索的即興發揮,亦以一絲不苟的構圖為依歸,儘管全然抽象,卻能引發關於風景的聯想,無疑彰顯了米切爾身為抽象表現主義頂尖女畫家的崇高地位。其大型回顧展將於二〇二〇年在巴爾的摩藝術博物館揭幕,隨後移師至三藩市現代藝術博物館和古根海姆美術館。

當代藝術晚間拍賣

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香港