拍品描述：
款识：CHU TEH-CHUN 朱德群 82 (右下); CHU TEH-CHUN 朱德群 《le 30. mars 1982》 (画背)
Chu Teh Chun is a widely acclaimed Chinese-French modern painter who dexterously merged techniques of traditional Chinese calligraphy with those of Western Abstract Expressionism in his works. As a graduate of the National School of Fine Arts in Hangzhou, Chu studied under Wu Dayu and Fang Ganmin, who were both considered fathers of Chinese oil painting. Yearning to further cultivate his understanding of Impressionism, Chu left his role as a professor at the National Taipei University in 1955 and embarked on his journey to France. While Chu was an extremely talented realist painter, he decided to abandon his practice of figurative painting upon his life-changing visit to the retrospective of Nicolas de Staël at the Musée National d’Art Moderne in Paris in 1956. Chu explained the rationale behind this major decision later in life: ‘De Staël was a great revelation for me. Previously, I was an objective painter, but now I am no longer interested in this way of painting, because after having begun to study abstract painting, I profoundly and obviously felt the freedom of expression which it testifies to.’ i
Nicolas de Staël, Composition, 1943
Artwork: © 2024 Artists Rights Society (ARS), New York / ADAGP, Paris
To his surprise, the exploration of abstract painting led Chu down the path of combining Chinese and Western artistic aesthetics, while preserving the most fundamental essentials of each. In the 1960s, Chu developed a sensational dreamlike style of abstraction, achieved through expressive brushstrokes and quivering use of colour, which offered his works a brand-new balance between vitality and tranquility. Deeply influenced by his fondness of Chinese poetry and calligraphy, Chu believed that poetry and painting adhere to the same rule and rhythm. It is thus of no surprise that his abstract artworks also possess lyrical qualities.
Le 30 mars 1982 is a work that marks the milestone of Chu’s ever-growing artistic achievements. Its creation followed an important retrospective of Chu at the Musée des Beaux-Arts Andre Malraux at Le Havre in 1982, showcasing paintings and drawings produced since his arrival in Paris. At the summit of his expressive intuition and painted in the same year as this retrospective, Le 30 mars 1982 manifests Chu’s magnificent spirituality and poetic sensibility. As a bright source of light pierces through thick heavy clouds to disrupt the serenity of the overall composition, the artwork demonstrates Chu’s mastery of chiaroscuro, which he had been perfecting since his encounter with Rembrandt’s use of light in the 1970s. Going into the 1980s, such theatrical contrast of light and shadow became a recurring effect of Chu’s works. Le 30 mars 1982, with its sublime complexity, marks the height of this motif, and captures the ascent of Chu’s artistic achievements among his contemporaries.
Rembrandt van Rijn, Christ in the Storm on the Sea of Galilee, 1633
Image: © Isabella Stewart Gardner Museum / Bridgeman Images
Apart from his chiaroscuro technique, Chu’s training in caoshu, a form of cursive calligraphy, with the modern ink master Pan Tianshou during his time in Hangzhou has also constituted an undeniable fundament to his eventual success. The spontaneous yet well-restrained free strokes of caoshu undoubtedly emerges in Chu’s execution of Le 30 mars 1982, gifting the work with a Chinese-ink-reminiscent nature at its interface with Western Abstract Expressionism. The combination of abstraction and calligraphy alludes to the distinctive intellectual heritage of China, specifically to the two icons of literati art of the Song dynasty, Su Shi and Mi Fu. While the former saw art as a form of expression for the artist’s inner world, the latter innovated a technique known as ‘splashed ink’, which uses moist washes and textured strokes to evoke the misty sceneries of Southern China. Incorporating essentials of both abstract expressionism and Chinese cursive calligraphy, Le 30 mars 1982 undoubtedly pays homage to the two Song dynasty masters, while transcending the demarcation between Chinese and Western aesthetics.
Mi Fu, Mountains and Pines in Spring, Northern Song Dynasty
Image: © National Palace Museum, Taipei
i Chu The-chun, quoted in Pierre Cabanne, Chu Teh-chun, les Chemins de l’abstraction, Paris, 2013, n.p.
来源:
现藏者直接购自艺术家本人
图录文章:
朱德群是一位著名的华裔法国现代画家，他开创了一种融贯中国传统绘画技巧和西方抽象表现主义的独特风格。毕业于杭州国立艺术专科学校，师从被称为中国油画之父的吴大羽和方干民，朱德群与好友暨校友赵无极、吴冠中，被称为中国现代艺术「三剑侠」，三人具有创造力和影响力的艺术创作使他们在东西方声名远播。
渴望进一步学习莫奈，塞尚和雷诺阿的艺术，朱德群在1955年离任他在台北国立大学的教授职位，启程赴法。作为一名极具天赋的现实主义画家，他为被称作「东方的蒙娜莉萨」的妻子所画的一幅著名的学术肖像为他赢得了「巴黎春季艺术沙龙」银奖。然而在1956年，朱德群在巴黎国立现代艺术博物看了抽象画家尼古拉·德·斯塔埃尔的回顾展后，受到极大的震惊，并作出了一个非比寻常的决定：放弃具象绘画，一切从头开始。朱德群后来解释说：
「德·斯塔埃尔对我来说是一个巨大的启示。在那之前，我是一个具象画家，但现在我对这种绘画已经没有兴趣，因为在我开始研究抽象绘画之后，我深刻、清晰地感受到了它所证明的表达上的自由。」（译自皮耶·卡班，《朱德群，抽象之路》，巴黎，2013年，无页码）
对抽象的探索以一种意想不到的方式将朱德群引向了对中西方艺术文化的结合，但不削减任何一方的精萃。在整个1960年代，他发展出了一种动人、梦幻的抽象风景之风格，具有表现力的笔法和浓烈的用色，为他的作品带来了一种全新的、在和谐与能量之间的充满活力的相互作用。深受他对中国诗词和书法的热爱之影响，朱德群相信诗词和绘画遵循「相同的规则和节奏」，而他的抽象作品中亦散发着显著的抒情特质。
《1982年3月30日》此作标志着朱德群人生最重要的时刻和他日益增长的学术成功之里程碑：他的重要回顾展于勒阿弗尔的安德烈·马尔罗美术馆开幕，展出了朱德群自1955年到了巴黎之后开始所创作的绘画与素描作品。此时正值他的表达能量高峰，《1982年3月30日》呈现了壮丽的精神力量和诗意的丰富情感。大片的蓝色汪洋象征着朱德群乘船赴法的命定旅程，亦是同样的旅程使他与未来的妻子景昭相遇，以及他首次与开罗、吉布提、斯里兰卡和越南的异域疆土邂逅。宁静、沈思的氛围被一束亮光刺破，穿过厚重、黑暗的云层——这是自朱德群在荷兰邂逅林布兰特的油画中所塑造的惊人光线之后，于整个1970年代所发展的主题。
戏剧性的明暗对照和光影的交错给予朱德群1980年代的作品，尤其是《1982年3月30日》，一种令人振奋的庄重与深度，这在他同时代的东西方艺术家中都无人可以比拟。朱德群在国立艺术专科学校时在现代水墨大师潘天寿门下的学习，也教会了他草书的艺术，一种潦草的书法形式，字体有章法可循，却又笔势流畅——该技巧给《1982年3月30日》中所运用的水洗技法增添了势头和力度。朱德群作品中对抽象、书法和诗词的融贯体现了他对中国文化传统的承袭，尤其是宋代的艺术家，著名的诗人和画家苏轼将艺术视为艺术家内在体验的对外表达，而米芾开创了「泼墨」的技法，利用水墨点染的方法，以浓、淡、染的墨法，点出山水烟雨（参考被认为出自米芾的《云起楼图》为例）。在笔法和构图上秉承东方书法和哲学的严谨和精神，使朱德群色彩浓厚、丰富的笔触能够超越抽象与具象之间的对立，并且在《1982年3月30日》对西方式的抽象表现主义进行重构。吴冠中评价他作品中的线条为「大弦嘈嘈如急雨，小弦切切如私语。」
凭借其超凡、普遍的美学，在西方抽象主义艺术家和同时代的中国艺术家中别具一格，朱德群的回顾展曾在许多重要的艺术机构举办。2020年将是对朱德群的艺术遗产极为重要的一年，他的大型巡回回顾展预计将在2020年4月于北京的中国国家博物馆举办，随后第二场以他纸上作品为主的展览将于2020年底在朱德群的出生地苏州举办。
油彩 画布
创作年代:
1982年3月30日作，并附朱德群基金会所核发之保证书。