張曉剛 兄弟 油畫畫布 畫框 二OO六年作

款識
張曉剛，2006

This work is generally in good condition. There is a minor scuff on the lower left quadrant. There are occasional scatters of colour spots on the surface. Please note that it was not examined under ultraviolet light.
"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."

張曉剛於同輩的中國藝術家當中，地位非凡。作為一個肖像畫家，張的作品，除了在西方世界代表中國人的形象，更憑藉濃縮中國人集體歷史的肖像，讓中國人更認識自己，畫中無名氏的形象無疑是一個時代的印記。中國解放初期，男女都必須穿起同一款的毛澤東革命服及帽子，沒有性別、階級和男女之別。張曉剛藉奇異神秘的肖像，帶出了毛澤東時期的社會壓力。對於張曉剛來說，藝術是對心理現實的一種投射，它著眼點並非控訴，而是對逝去社會的一種矛盾思念。他創作的手法和作品的嚴肅性反映著中國人的形象，張曉剛以他於內地街道覓得的老家庭照片及木炭畫為藍本，以冷色調為主調，加上臉上的小片色塊、幼細的血緣紅線和在衣物上偶爾添上的色彩，讓我們看到過去一段物質貧乏的時光。