1150
1150

MARC JACOBS 當代藝術珍藏

約翰·柯林
懺悔者
估價
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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.
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Guaranteed Property. The seller of lots with this symbol has been guaranteed a minimum price from one auction or a series of auctions. If every lot in a catalogue is guaranteed, the Conditions of Sale will so state and this symbol will not be used for each lot.
8,000,00012,000,000
拍品已售 17,575,000 港幣 成交價 (含買家佣金)
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1150

MARC JACOBS 當代藝術珍藏

約翰·柯林
懺悔者
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.
Guaranteed Property
Guaranteed Property. The seller of lots with this symbol has been guaranteed a minimum price from one auction or a series of auctions. If every lot in a catalogue is guaranteed, the Conditions of Sale will so state and this symbol will not be used for each lot.
8,000,00012,000,000
拍品已售 17,575,000 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

約翰·柯林
生於1962年
懺悔者
2004年作
款識
John Currin,04(畫布折入處)
油畫亞麻布
107 x 86.6 公分,42⅛ x 34⅛ 英寸
參閱狀況報告 參閱狀況報告

來源

紐約,格拉斯頓畫廊
Marc Jacobs 於2004年購自上述來源

展覽

聖塔菲,聖塔菲 SITE,「聖達菲第五屆國際雙年展:差異與變形」,2004年7月至2005年1月
佛羅倫薩,斯塔凡諾·巴爾迪尼博物館,「John Currin」,2016年6月至10月,頁44-45

出版

Melissa Gronlund 編,《Frieze Art Fair: Yearbook 2004-5》(倫敦,2004年),載彩圖
Giancarlo Politi 撰,〈John Currin: An Interview by the Readers of Flash Art〉,《Flash Art》,2005年7月至9月,頁100,載彩圖
Kara Vander Weg 與 Rose Dergan 編,《John Currin》(紐約,2006年),封面,頁334-335,載彩圖

相關資料

(《懺悔者》)在我的作品當中應該是最具佛羅倫斯風格的。當然,我希望它能出現在烏菲茲美術館裡。

約翰·柯林


約翰·柯林的作品《懺悔者》觀念睿智、技巧超群,是一件攝人心魂的肖像畫,體現了藝術家在研究藝術史方面的造詣。他從多方面反思女性形象,藉此重塑具象繪畫的傳統。柯林描繪自己的妻子及靈感女神瑞秋·芬因斯坦時,採用了藝術史上令人敬仰的語彙——懺悔者抹大拉瑪麗亞的形象——一個在十六世紀意大利開始盛行的主題。抹大拉含淚睜眼的瞬間象徵著贖罪聖禮;她因為敘事的需要而被描繪成半裸形象——袒胸半露乳、目送秋波,一頭波浪長髮,隐含的情欲與其形象的普及不無關係。在這幅作品中,柯林以另類的方式把玩主題,與其他更暴露和挑逗的作品截然不同:妻子身穿寬鬆的圓領運動衫,流露難以捉摸的表情,既像慵懶的愉悅,又如挑逗的期盼。作品糅合了尖銳的現實主義與根植於荒謬宗教意象的高明暗語,喚起了自人類文明之初就滲透到社會習俗中的暗湧和異質,而且表現得淋漓盡致。佛羅倫斯巴爾迪尼博物館在2016年為柯林舉辦個展,展覽宣傳明信片上印有這幅作品。它憑著優雅迷人、卻又頑皮挑逗的魅力,被認為是柯林在探討繪畫難題方面最具代表性的作品之一。

《懺悔者》創作於2004年,柯林此時正值職業生涯中期,而2003年惠特尼美國藝術博物館為他舉行的回顧展剛剛結束。這次展覽奠定了他在當代藝術中的中堅地位。在柯林出生的同年,羅伊·李奇登斯坦的首場展覽在紐約的利奧・卡斯泰利畫廊舉行。承接藝術家前輩,柯林挑戰傳統觀念對女性美的理解。正如李奇登斯坦,柯林在自己身處的時代語境下,探索創新的方式去描繪女性,以大眾可接受的形式去顛覆常規。他早年以中學畢業名冊裡的頭像進行創作,捕捉凝固在表情中的靜默面孔。1992年,安德列·羅森畫廊舉行的柯林個展上的小幅作品主要描繪年紀老邁的女人,藝術家藉此拒絕呈現過度美化的欲望對象——即觀者習以為常的女性形象。在1990年代中期,柯林轉向直擊人們對於女性根深蒂固的刻板觀念,發展出色情美人海報風格,以滑稽的方式描繪女性,如豐腴的女人在量度胸部尺寸、挑逗愛慕者,或者擺出誘惑的姿勢。從這種對性別觀念的譏諷視角出發,柯林步向創新的高峰——這緣於他對文藝復興時期的大師之作的濃厚興趣,而他亦藉此引導藝術史家和評論回歸討論繪畫的意義。羅伯特·羅森布倫評論柯林作品時,將此形容為「裸體寫實女人與早期裸體畫之間的衝突」,「(柯林)將脆弱的過去和粗俗的現在融合,產生一個並存于兩者的完美混雜體」。(《約翰·柯林》展覽圖錄,芝加哥當代藝術博物館,2003年,頁15)

在形式上,柯林的《懺悔者》熟練地採用現時看來過時的學院派技巧。本畫採用古典構圖,對光與深度的處理具有大師風範,線條勾勒手法純熟,肉體和姿態的描畫恰到好處。《懺悔者》展示了柯林精湛的繪畫技巧,這種技巧的完全成熟最初出現在文藝復興鼎盛時期。大約從1998至1999年開始,柯林開始嚴謹地研究十七世紀歐洲南部流行的正統打底技法——先塗上淺色或深色顏料打底,然後蓋以常見的肌膚顏色。使用白色打底後,色彩表層滲出別樣的暖調和深度:正如愛麗森·金格拉斯所述,這種技法「以自然的造型和實在的生命力,使柯林得以炫耀他的大師級技巧」。(愛麗森·M·金格拉斯撰,<約翰·柯林:粗俗圖像>,卡拉·范德·韋格與羅西·德根編,《約翰·柯林》,紐約,2006年,頁41)光澤透亮的膚色和微微泛紅的臉頰在作品中清晰可辨,技法的運用駕輕就熟,使得肉體和臉部細節栩栩如生,呈現一幀逼真動人的肖像佳作。

柯林運用的文藝復興式打底技巧費時耗力、又生僻冷門,卻把人物形象描繪得特別生動自然,不僅讓藝術家免於被譏諷為模仿者,更凸顯他對媒材的認真考究。 柯林忠於技法和材料,不容妥協;他採納了早期繪畫大師那古老且嚴謹的畫法,使他成為繼承學院派造型繪畫傳統的一員。毋庸置疑的是,當《懺悔者》在2016年佛羅倫斯巴爾迪尼博物館與其他永久館藏一同展出時,它與古老的雕塑、半身像和繪畫之間,自然地產生了一場富有詩意的對話。當被問及會將哪一件作品留在佛羅倫斯,柯林回答:「我以妻子為主角的《懺悔者》很有佛羅倫斯風格,它就是這次展覽宣傳明信片上的那幅。那些邊緣非常有佛羅倫斯的感覺。我留意到,即使是這間酒店裡不起眼的裝飾,邊緣都很清晰,這是佛羅倫斯風格的特點。《懺悔者》在我的作品當中應該是最具佛羅倫斯風格的。當然,我希望它能出現在烏菲茲美術館裡。」(引自藝術家,瑪莉·格雷撰,<約翰·柯林在佛羅倫斯:與美國藝術家對談>,《佛羅倫斯人》,2016年6月13日)

《懺悔者》散發著華麗的精緻感和迷人的輕浮氣息,突顯瑞秋·芬因斯坦的特徵——開闊的眼眸和金色波浪短髮,頭戴一頂裹著歐根紗的花冠。 花朵代表了香味,或許是暗示抹大拉將昂價香水潑灑在耶穌腳上的舉動;歐根紗材質描繪得精巧細緻,讓人聯想到波提且利《哀悼基督》中抹大拉瑪麗亞身上輕透飄逸的衣裳。柯林的《懺悔者》無邪、嫺靜、嬌俏,顛覆了兩千年來抹大拉瑪麗亞作為懺悔者和妓女的形象寫照;畫家甚至用聖母藍袍的顏色為背景,將她提高到聖母瑪利亞的地位。芬因斯坦側倚在俗氣的毛茸靠墊上,与天使般理想化的聖潔光輝形成反差。《懺悔者》討人心喜、溫柔美麗但又詭怪無解,它優雅地徘徊在兩極之間——高雅藝術和通俗文化、古代與當代、處女與蕩婦、聖人與罪人,讓觀者從隱喻中思考這個永恆地充滿矛盾的世界,因此堪稱柯林的另類創作中最成功的作品之一。

當代藝術晚間拍賣

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香港