費南度. 波特羅

二〇〇六年至二〇一二年作

現藏者直接購自藝術家本人

此作品附設藝術家簽發之藝術品證明書

This work is in very good condition overall. The patina layer is even overall. Under close examination, there are very minor, faint spots of rubbing to the patina apparent to the head. Under raking light, scattered minor discoloration to the patina are present on the back of the horse and a few surface scratches are noticeable on the horse's belly, inherent to the artist's choice of medium.
"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."

在費南度·波特羅的雕塑作品當中，馬的形象非常突出。他在上世紀五十年代遊歷歐洲時，看到了十五世紀藝術大師保羅·烏切洛的名作《聖羅馬諾之役》，這幅畫以馬為主題，他因此開始特別欣賞這種優雅矯健的動物。這幅畫一如烏切洛的許多作品，採用全景觀式透視表現方法，從所有角度描繪戰馬的不同姿態。自此之後，波特羅採用馬匹和人體來表現他著名的美學——誇張肥碩、肌肉圓潤隆起的軀體。

波特羅年過三十後才開始嘗試創作雕塑。當時由於青銅價格不菲，他試驗過一些多孔的媒材，例如壓克力樹脂和鋸屑。在進入立體藝術領域之前，他一直埋首於具象繪畫，其風格明顯受西班牙殖民建築影響。畫中充斥著不同建築語言的剪影，包括粗曠簡約的實用主義元素和巴洛克的奢華矯飾風格，這些對比其後出現在波特羅的青銅雕塑中。《馬》的雕塑表面經過多重打磨，平滑亮麗，散發極簡主義的色彩，而巴洛克式浮華風格則表現為浮誇腫脹的身軀。觀者的目光流連在豐腴圓潤的軀體上，加上合金材質光滑無瑕，帶來豐富的視覺體驗。此外，動物姿態溫馴，作俯首服從狀，更令觀者感覺自然舒暢。

波特羅的雕塑理念是呈現普遍性。與古典青銅馬像的標準相反，他選擇以最簡約、而非仔細刻畫的方式去呈現一匹理想化的馬，從而塑造出一個普世皆準的馬匹形象。《馬》一反常見的表現方式，把玩肥腴和粗獷的形態的同時，展現馬匹沉靜祥和的一面，流露一種撼動心靈和心智的美感。在東西方藝術世界裡，馬的形象備受尊崇，其象徵意義豐富多變，是靈性、文化和文明的體現。