席德進

款識：
席德進 1978（右下）

〈絕代風華——杭州藝專〉耿畫廊，台北，二〇一〇年三月六日至二十八日
〈我畫•我想•我說—席德進的素描與水彩〉國立歷史博物館，台北，二〇一一年十月二十一日至十二月十八日

〈典藏古美術〉典藏雜誌社出版，台北，二〇〇九年四月，第一百九十九期，五十六頁， 彩圖
〈歷史文物〉國立歷史博物館出版，台北，二〇一一年十月，第二百一十九期，四十八頁，彩圖

This work is in very good condition. There are four artist pinholes in each corner, and each edge has a faint frame mark. There are small spots of scattered foxing along the top edge, inherent to the aging process.
"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."

「中國從徐渭、八大、齊白石，一路下來在生宣紙上作水墨靈活控制的傳統，到林風眠，到席德進被繼承了下來。墨色層次的變化，自然是中國水墨畫一貫的特長。席德進卻不是用墨，而是用不同的水彩顏料，調出近於墨的層次，比水墨畫看來更動人了。作為一個台灣的畫家，他所承受的影響之複雜，無論歐美或中國大陸的畫家都無法比擬，也使台灣的藝術家特別辛苦，在多種傳統裡，莫所適從，席德進自然也經歷了這個階段…然而他從台灣出發，才可能是中國的，才可能是世界的…席德進看穿了這點，努力作一個台灣畫家，才在風格上成熟了，為台灣寫出了面貌，為中國的山水開拓了新疆域，也將是給世界文化最好的貢獻。」
藝術評論家蔣勳