李仲生 無題 壓克力彩、水彩、蠟筆紙本

亞洲私人收藏

This work is in good condition. Examined with the frame on, one sees slight undulation across the surface due to mounting; minor craquelure at the centre; and light stain along the top and upper right edges.
"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."

二十世紀西方繪畫三大主流之一的抽象主義，在世紀中有極大的發展。此一主義和台灣發生關係，在五○年代前後。1949年隨國民政府來台的李仲生躬逢其盛，成為台灣抽象藝術的代言人。李氏成長於內地時即探索西方現代畫派，後東渡日本親炙前衛藝術，來台後，以實際行動大力鼓吹當代藝術、著墨引介前衛藝術、發表論述。此外，並以正規美術教育體制外的自由獨立之研究方式教學，感召熱愛藝術之青年學子，日後門生成立「東方畫會」、「自由畫會」等，接續發揚抽象藝術，將現代藝術在台灣生根。細數目前活躍於台灣藝壇的重要人物，直接受教於李仲生的和間接受其影響的不在少數。就歷史角度視之，李仲生已不僅是抽象畫大師，而是值得後人致最敬禮的一代宗師。