常玉–寄黑藏白醉粉紅|5.5-6.3|大未來林舍畫廊

常玉–寄黑藏白醉粉紅|5.5-6.3|大未來林舍畫廊

 

常玉–寄黑藏白醉粉紅

展期 Date | 2018.05.05 – 06.03
開幕 Reception | 2018.05.05 4pm
地點|大未來林舍畫廊
更多資訊|www.linlingallery.com


大未來林舍畫廊5月將隆重呈獻「常玉–寄黑藏白醉粉紅」個展,引領觀眾一窺常玉的時代風華。林天民先生自1991年將第一批常玉油畫作品帶進台灣,並於1992年將常玉作品引薦至蘇富比台灣首拍。同年於「帝門藝術中心」主辦常玉首次油畫展,便開始引起許多收藏家熱情關注及追逐常玉的作品。至今,共舉辦過六次常玉個展,並參與歷史博物館(National Museum of History)、法國居美美術館(Guimet Musée National des Arts Asiatiques)舉辦的常玉大型展覽。本次展覽在第二代接班人林岱蔚的籌辦下,延續並重現林天民推廣常玉近30年信念與心路歷程,以「歷史文本為基底,美學精神為核心價值」的信念,希冀與觀者一同感受回到初始看常玉的驚艷與感動。

1895年常玉出生於中國四川商賈家庭,少年時期入上海美術學校就讀,1919年赴日留學。1921年應「勤工儉學」前往法國,與林風眠、吳大羽、徐悲鴻、龐薰琹等人均屬第一代旅法華人藝術家。身處巴黎的常玉其創作更多是在參照、辯證當時的創作氛圍與美學思維,而非僅是師從、遵循西方學院派的藝術教條;同時站在自身的文化底蘊下,融會西方現代美學的視野並與來自世界各地的藝術家同堂競藝。雖然日後常玉曾短暫返回中國,但仍決定回到巴黎的藝術世界。這個既傳統又世界的常玉,正是1990年初林天民先生初見其作品時體驗到的純粹美感與時代精神的凝聚。

是次展覽常玉生平最大巨作近300公分油畫作品《荷塘白鶴》(六屏屏風)將首次公開亮相於私人畫廊,並同時展出數件大尺幅裸女、盆花等各主題代表作品。展覽以「黑」、「白」、「粉紅」為主題,勾勒出常玉創作的東方文人精神,重現最初常玉為人們所稱道的創作本質。常玉刻意地將其用色精簡在三個色調裡,並用「簡化主義」(Simplicism)又或者「本質主義」(Essentialism)來形容他的藝術,如同常玉於1946年曾說:「形式上我追求簡化,直至最核心的本質。⋯⋯精準的力量才能更加豐沛無限。」為讓觀者能更深刻感受到常玉所身處的「瘋狂年代」(Années folles,1920s、30s)巴黎,展場特意規劃了一個「巴黎畫派」作品展覽空間,同步呈現當時聚居於巴黎,來自世界各地有著不同文化背景的藝術家作品。透過此一情境,展覽嘗試引領觀者回到常玉的創作年代,進而體會並看見在現代主義藝術的表現技法下,其作品獨特的文人美學品味。

常玉的人生是一則巴黎遊子的曲折傳奇,而他的作品提升了今日我們的文化和視覺美學素養,也因此我們見證了應屬於他崇高的藝術地位。於此,我們期盼號召和感謝更多人能誠摯地為維護常玉創作的聲譽而投入嚴謹的基底工作。作為展覽的一部分與延伸,此展大未來林舍畫廊出版的專書跳脫「圖錄」思維,除了收錄131件油畫作品,同時藉由內載收集的歷史照片與文章報導,包括常玉1945年發表其對畢卡索的見解,席德進、龐薰琹、朱德群、吳冠中等藝術家眼中與認識的常玉,以及90年代初常玉作品第一次進入台灣,林天民先生的撰文與採訪,直至1997年台北蘇富比公司主辦「常玉座談會」蔣勳先生的演講整理,藉以形塑一個更為立體與鮮活的常玉。常玉於今終於得到了其應有的歷史定位,我們更該共勉珍惜一本初衷的純真,及莫忘初心的熱情和虔誠。

Lin & Lin Gallery is pleased to announce its solo exhibition Sanyu—In a Reverie of Black, White, and Pink offering the public a glimpse of the elegant times in which Sanyu lived and worked. In 1991, Mr Lin Tianmin brought the first group of Sanyu’s oil paintings to Taiwan, and in 1992, introduced them for the first time at a Sotheby’s auction in Taiwan. In the same year, the Dimensions Art Center held its first exhibition of Sanyu’s oil paintings, which attracted the enthusiastic attention of many collectors who started following his work. To date, Lin has organized a total of six solo exhibitions of Sanyu’s work, and participated in large-scale exhibitions at Taipei’s National Museum of History, and the Guimet Musée National des Arts Asiatiques in France. Lin Tianmin’s son, David Lin, organized this exhibition for Lin & Lin Gallery to extend his father’s thirty-year conviction in promoting and researching the development of Sanyu’s work. With historical texts as a foundation and Sanyu’s aesthetic spirit as a core value, David Lin and the Gallery invite viewers to return to the stunning beginnings of Sanyu’s poignant life and work.

Sanyu was born to a merchant family in 1895 in Sichuan Province, China. As a youth, he attended the Shanghai School of Fine Arts and then in 1919, went to Japan to further his studies. In 1921, Sanyu was brought to Paris by The Diligent Work-Frugal Study Movement along with Lin Fengmian, Wu Da-Yu, Xu Beihong, and Pang Xunqin, who were among the first generation of Chinese artists to live in France. Sanyu observed the artistic atmosphere of Paris and compared aesthetic concepts of the time to blend modern western aesthetics with that of his own cultural background rather than just follow the academic doctrine of western schools. He also lived and competed with artists who had come from all over the world to be in Paris. He only once returned to China for a short visit, but then decided to rejoin the Parisian art world. In early 1990, Lin Tianmin first saw the work of Sanyu, who embodied both tradition and worldliness, and admired his fusion of pure aesthetic and zeitgeist.

The exhibition includes the six-panel screen Lotus and White Crane, which has never before been exhibited at a private gallery, and at nearly 300 cm, is the largest work that Sanyu had created. Also on exhibition are numerous large-scale paintings of female nudes, potted flowers, and other subject matter representative of his oeuvre. Black, white, and pink were chosen for the exhibition theme, as they represent Sanyu’s eastern literati spirit and his celebrated artistic origins. He deliberately reduced his palette to three colors, and in 1946 used concepts from Simplicism or Essentialism to describe his own style, saying, “I pursue simplicity in my forms to the point of their essence. […] Only the power of this precision can create more to an infinite degree.” The exhibition venue has been reconfigured to look like an exhibition of the Paris School, and the work of other artists who came from around the world to Paris are presented to give visitors a greater sense of Sanyu’s life in the so called Années folles of the 1920s in Paris. In this way, the Gallery wishes to bring visitors to Sanyu’s creative period, and have them experience the unique literati aesthetic of his work in a context of modern art’s expressive techniques.

Sanyu’s legendary Parisian life had its setbacks, but his artwork has elevated our culture and visual aesthetics, thus rendering us witnesses to his lofty and rightful position in the art world. We therefore call on more people to rigorously build a foundation of research, and look forward to thanking others for earnestly safeguarding the reputation of Sanyu’s work. As an extension to the exhibition, Lin & Lin Gallery is publishing a professional volume that is much more than a catalog. It comprises 131 plates depicting Sanyu’s oil paintings, as well as historical photographs and texts. Writings include a 1945 article in which Sanyu offers his interpretation of Picasso’s work, others about Sanyu by the artists Shiy De-Jinn, Pang Xunqin, Chu Teh-Chun, and Wu Guanzhong, as well as writing and research by Lin Tianmin, who first brought Sanyu’s works to Taiwan in the early 1990s, and an abridged version of Chiang Hsun’s lecture on the occasion of the 1997 Sanyu Symposium held by Sotheby’s. With this book, the Gallery hopes to form a more three-dimensional and vivid representation of Sanyu as he finally finds his rightful place in the history of art. And for this reason, we implore everyone to cherish our pure intentions, and passion and devotion to his art.