- 234
范安海
估價
80,000 - 120,000 HKD
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招標截止
描述
- Pham An Hai
- 《金秋》
- 畫家簽名並紀年2011
- 油畫畫布
- 100 x 200公分；39 1/4 x 78 3/4英寸
Condition
The work is in good condition overall, as is the canvas. There are indications of minor wear and handling to the edges, but paint layers are well preserved and stable. Under ultraviolet light inspection, there is no evidence of retouching. Framed.
"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."
"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."
拍品資料及來源
范安海（生於1967年）是東南亞頂尖的抽象畫家，也是越南首批走出社會主義寫實主義的藝術家之一。范安海在胡志明的改革政府下成長，這時期的越南民族主義漸強，社會上反響很大，藝術也並不例外。社會主義寫實主義自然而然成為藝術應具備的標準，抽象或表現主義則因為缺乏統一性而不被普遍認可。1986年經濟政策革新後，政府才逐漸放寬對藝術的限制，范安海便可能是在這次改革中產生對抽象藝術的興趣，這其中所容納的創意思維是藝術家們幾年前所不敢想像的。
1985年，范安海在河內藝術與音樂學院修讀繪畫，期間他的風格偏向表現主義及超現實主義，而他於1990年在河內美術學院繼續習畫。1997年范安海在交通意外中被奪去一隻眼睛，自此他的畫風便漸趨個人化，帶有自傳味道。那次意外嚴重地影響到范安海的視覺，對其打擊不小，但同時也使他重新認識自己。康復期間，範安海作畫時下筆落墨全憑直覺，勁力的筆觸、夢幻的色調，盡是發自內心的感性，真誠直率。
范安海開始在其創作中探討不同的題材，如他在河內成長時的點點回憶，但他卻發現城市現今的發展、人口增長及污染都把回憶中的甜蜜掩蓋住了，所以范安海決定「重現河內本貌並去認識它成為現代大都市的新身份」[1]通過嶄新的眼光展現城市四季的不同面貌。
[1]席琳·納茲里，《范安海：表現與抽象》，曼谷，2007年，第13頁
1985年，范安海在河內藝術與音樂學院修讀繪畫，期間他的風格偏向表現主義及超現實主義，而他於1990年在河內美術學院繼續習畫。1997年范安海在交通意外中被奪去一隻眼睛，自此他的畫風便漸趨個人化，帶有自傳味道。那次意外嚴重地影響到范安海的視覺，對其打擊不小，但同時也使他重新認識自己。康復期間，範安海作畫時下筆落墨全憑直覺，勁力的筆觸、夢幻的色調，盡是發自內心的感性，真誠直率。
范安海開始在其創作中探討不同的題材，如他在河內成長時的點點回憶，但他卻發現城市現今的發展、人口增長及污染都把回憶中的甜蜜掩蓋住了，所以范安海決定「重現河內本貌並去認識它成為現代大都市的新身份」[1]通過嶄新的眼光展現城市四季的不同面貌。
[1]席琳·納茲里，《范安海：表現與抽象》，曼谷，2007年，第13頁