許漢超

Amfac Plaza, Hawaii exhibition label affixed to the stretcher on the reverse

亞洲私人收藏

〈夏威夷藝術家年度展覽〉Amfac廣場展廳，夏威夷，七〇年代末至八〇年代初六月十七日至七月二日

This work is in good condition. There is scattered craquelure and minor paint losses on the canvas, notably around the top left edge, and on the two figures in the middle of the painting, 20 centimeters from the top edge and 55 centimeters from the left edge. Also a slight lifting has occurred, approximately 8 centimeters to the right bottom corner. Under UV light there is evidence of touch ups, particularly located along the left and bottom 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."

二十世紀海外華人藝術家中，有一批旅美先驅獲得了相當成就，如朱沅芷、陳蔭羆、伍澤樞等。在夏威夷畫壇享負盛名的許漢超也是其中的先行者，不僅在當地創辦了「中國藝術協會」與「夏威夷水彩畫會」，還兩度被政府授予「年度最佳藝術家獎」。1905年出生於夏威夷茂宜島，幼年至青少年時期隨母親返回家鄉廣東中山度過，入讀當地學校修習中國傳統文學、樂器與書法； 1929年他考上加州美術學院（California School of Fine Arts），與朱沅芷師出同門；然而對許漢超影響最大的，應為1949至1951年期間在法國立體派大師雷傑（Fernand Léger）和德國表現主義大師格羅茲（George Grosz）門下學習的經歷。雖受教於名師，許漢超的創造力卻未曾被老師建構的既定風格所拘泥，反而用盡心思，使用不同的藝術語彙去表達現代主義的精神。是次日拍呈獻的四幅作品即為箇中代表。