印象派和現代藝術巨匠

漢馬畫廊此次於香港巴塞爾藝術博覽會的參與，標示了漢馬家族與中國長久深厚之情誼的一新階段。起始於愛滿•漢馬博士與中國領導鄧小平1979年的會面，此一情誼開創了兩國商業、藝術與文化交流的豐美關係。

漢馬畫廊此次攜至中國的藏品是印象派與現代藝術大師之作，包括了雷諾瓦、馬蒂斯、畢卡索、莫迪里安尼與夏加爾。這些藝術家代表了印象主義與巴黎學派，因為藝術有史以來首次拒絕了回顧過往而震驚世人。最先的藏家為工業家與創新的商業士紳，他們共享了藝術家對於創新的熱情。這些作品的觀眾很快地國際化，並在初期以美國人為主。

現今各美術館皆以這些藝術家為西洋美術的關鍵代表，因此，得以流通至私人藏家的作品年年減少。儘管如此，巴西、印度、中東以及今日最突出的亞洲藏家日加興盛的典藏，帶給此一領域前所未見的強盛經濟活力與溯及數千年的美學傳統。

印象派以及現代藝術與亞洲美學之間的連結不勝枚舉。在法國，中國風（chinoiserie）於十八世紀時蔚為風潮，當時歐洲的工匠紛紛製做具有中國品味的藝品、仿效中國出口的瓷器。歐洲最好的亞洲藝術博物館，巴黎吉美博物館便是建於1879年，正值印象派最盛之時。到了1900年，新藝術運動，廣泛以亞洲圖紋的設計原理，獲得了普世的讚譽。印象派的早期大師，雷諾瓦、莫內與德加，皆為亞洲藝術的仰慕者，並偏好其平面化的風格、化約的形象，以及近乎抽象的裝飾效果，這一技法也由馬蒂斯、畢卡索以及莫迪里安尼更進一步的發展。

印象派，也是現代主義的起點，伴隨二十世紀的巴黎學派，以拒絕過往美術訓練的傳統成名，擁抱了現世的主題與個人創新風格的自由。

雷諾瓦是印象派最偉大的肖像藝術家，此次以他對於最愛的模特兒之一：加布麗 • 雷納德的一幅親密描繪為代表。這幅畫作充盈著生命力，以羽毛般輕盈、黃金色與醇美的紅，襯以隱約漸層的橄欖色調。柔和室外陽光的氛圍，透過繪畫的質感流瀉而出，成為一件印象派的代表之作。

馬蒂斯與畢卡索同為下一世代的競爭對手，領導著創新的

潮流並影響了整個20世紀。馬蒂斯，最初成名於「野獸派」的藝術團體，使用高調的色彩作畫以情感與直覺取代表具象的描繪。馬蒂斯與畢卡索一樣也對女性的主題深深著迷。1919年這件優雅的扶手椅中的女人，他加強表現模特兒翠綠腰帶與灰白色裙子、深色頭髮與膚色間的對比，並綴上一抹她的項鍊與手環。

畢卡索以對於空間維度的探索為世人熟悉，其幾何的空間詮釋為他贏得立體派的聲名。也從早期型式中發展出一種延續的風格，畢卡索與下一波主要的藝術運動，超現實主義，表現在他1941年的大師之作情人朵拉•瑪爾的肖像中。作品中的稜角及變形，與畢卡索1932年所繪另一情人瑪麗泰蕾茲 •沃特肖像的肉慾豐滿反差對照。畢卡索1960年《斜倚的裸女》，獻給了他的第二任妻子賈桂琳，也表現了同樣感官高漲的女性線條。

莫迪里安尼，從未順服於野獸派或立體派，而定義了個人品牌的表現主義，共347幅有記載的油畫作品完成於35歲逝世前。他1919年畫的年輕女孩肖像，顯現了他特有的精緻線性輪廓、陶瓦色的肌膚、標誌性的筆觸與杏形的眼眸。

夏加爾的繪畫時常以馬戲團特技員、愛人、花束、農莊動物與音樂家為主題，並以出生地，俄羅斯的維捷布斯克為場景。夏加爾如夢般的構圖，以超現實的組合表現熟悉的風景，與人類永恆的主題。

透過這些印象派與現代大師的作品，漢馬畫廊慶賀東方與西方間的綿延不斷的交流與共通的鑑賞品味，並獻給亞洲觀眾一睹最具代表性的作品風采與典藏的珍稀機緣。

2.

1. 巴布羅·畢卡索 (西班牙，1881–1973)，《演奏單簧管的樂手》，1932 。 紙上水墨，101⁄8 x 13英寸（25.8 x 33公分）。簽名與日期記載左下：Picasso, Paris, 13 octobre–17 novembre XXXII

2. 亨利·馬蒂斯（法國，1869–1954)，《女人的畫像》，1942 。紙上彩墨101⁄4 x 7 7⁄8英寸（26 x 20公分）。簽名左下：Henri Matisse

475 Pa rk Avenue New York N Y 10 022 Tel 212-6 4 4-4 40 0

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cover: Pablo Picasso (Spanish, 1881–1973), Femme dans un fauteuil (Dora Maar), 1941. Oil on canvas, 393⁄8 x 317⁄8 inches (100 x 81 cm). Dated on the reverse: 19 June 41

巴布羅·畢卡索 (西班牙，1881–1973），《椅中的女人（朵拉）》，1941。油彩畫布，393⁄8 x 317⁄8 英寸（100 x 81 公分 ）。日期記於背面： 19 June 41

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The presence of Hammer Galleries at Art Basel Hong Kong marks a new phase in the long standing relation between the Hammer legacy and China. This began with the epochal meeting of Dr. Armand Hammer to Chinese leader Deng Xiaoping in 1979 which com-menced a new stage in the fruitful relationship between the two nations expressed in business, art, and culture.

It is fitting that the collection now brought to China by Hammer Galleries features Impressionist and Modern masters including Renoir, Matisse, Picasso, Modigliani and Chagall. These artists, representing Impressionism and the School of Paris, shocked the world because for the first time, art refused to look back into the past. Their first collectors were industrialists and business innova-tors, who shared the artists’ passion for the new. The audience for these works quickly became international, and at the beginning, Americans predominated.

Every major museum regards these artists as crucial to the rep-resentation of western art. Consequently, fewer examples every year become available to private collectors. Nonetheless, collections continue to be initiated by Brazilians, Indians, Middle Easterners, and most notably today by Asians, who bring to this field unprece-dented economic prowess and an aesthetic tradition dating back thousands of years.

The links between Impressionist and Modern Art and the aesthetics of Asian art are numerous. French chinoiserie became fash-ionable in the 18th century, when European craftsmen produced items in the Chinese taste, modelled after Chinese export porcelain. The greatest European museum of Asian art, the Musee Guimet in Paris was founded 1879, at the height of Impressionism. By 1900, Art Nouveau, based largely on Asian design principles, achieved universal acclaim. Impressionism’s first masters, Renoir, Monet, and Degas, were admirers of Asian art, and favored its stylistic flatness, cropped silhouettes, and nearly abstract decorative effects, an approach which was further developed by Matisse, Picasso, and Modigliani.

Impressionism, where modernism began, followed by the 20th Century School of Paris, became known for rejecting past artistic practice, embrace of subjects from their own time, and freedom to achieve stylistic innovation for personal ends.

Renoir, the greatest portraitist of Impressionism, is represented here by an intimate depiction of one of his favorite models, Gabrielle Renard. This painting appears to pulsate with life, painted with lively feathery brush strokes in rich cadmium red and yellow gold,

subtle shading in hues of olive. Its atmosphere of soft outdoor sun-light conveyed through painterly textures makes this piece a signa-ture work of Impressionism.

Matisse and Picasso were rivals in the next generation, leading innovation and influencing the entire 20th century. Matisse, achieved initial fame as part of the group known as “les fauves” (French for “wild beasts”), using high keyed color, determined by emotion and intuition rather than descriptive fact. Matisse, like Picasso, was obsessed with female subjects. In his elegant 1919 portrayal of a woman in an armchair, he emphasized the striking contrast between his model’s vibrant green sash, off-white dress, and dark hair and complexion, accentuated by her necklace and bracelet.

Picasso became best known for his exploration of spatial form, whose geometric underpinnings earned it the name cubism. Both developed a succession of modes from these primary styles. Picasso’s engagement with the next major art movement, surrealism, is shown in his masterful 1941 portrait of his mistress, Dora Maar. Its angularity and distortion contrasts with Picasso’s 1932 voluptuous portrayal of yet another mistress, Marie-Thérèse Walter. His reclin-ing nude of 1960, a tribute to his second wife, Jacqueline, similarly portrays an array of sensuous feminine curves.

Modigliani, never conformed to Fauvism or Cubism, but coined his own personal brand of Expressionism, producing only 347 docu-mented oil paintings before his death at age 35. His portrayal of a young girl from 1919 typifies his style of refined linear contours, ter-ra-cotta flesh tones, gestural brushwork, and almond shaped eyes.

Paintings by Chagall often feature such themes as circus acro-bats, lovers, flower bouquets, farm animals, musicians, and settings that recall the artist’s birthplace in Vitebsk, Russia. Chagall’s dream-like compositions show timeless humanistic themes through famil-iar images in unreal combinations.

With these Impressionist and Modern masters, Hammer Galleries celebrates the continuing interchange between East and West through shared connoisseurship and offers to the Asian audi-ence the opportunity of viewing and acquiring some of the most important available examples.

Impressionist and Modern Masters

1.

1. Pablo Picasso (Spanish, 1881–1973), Le joueur de clarinette, 1932. Ink and wash on paper, 101⁄8 x 13 inches (25.8 x 33 cm). Signed and dated lower left: Picasso, Paris, 13 octobre–17 novembre XXXII

2. Henri Matisse (French, 1869–1954), Portrait de femme, 1942. Ink on paper, 101⁄4

x 7 7⁄8 inches (26 x 20 cm). Signed lower left: Henri Matisse

Pierre-Auguste Renoir (french, 1841–1919)

Gabrielle au chapeau de paille, 1900 Oil on canvas 32 x 253⁄4 inches (81.3 x 65.4 cm) Signed lower right: Renoir

皮耶-奧古斯特·雷諾瓦（法國，1841–1919）

《戴草帽的加布麗》，1900油彩畫布

32 x 253⁄4 英寸 (81.3 x 65.4公分）

簽名右下: Renoir

Henri Matisse (french, 1869–1954)

Femme au fauteuil, 1919 Oil on canvas 191⁄4 x 171⁄4 inches (48.9 x 43.8 cm) Signed lower right: Henri Matisse

亨利·馬蒂斯（法國，1869–1954）

《椅上的女人》，1919油彩畫布

191⁄4 x 171⁄4 英寸 (48.9 x 43.8 公分) 簽名右下：Henri Matisse

Amedeo Modigliani (italian, 1884–1920)

Jeune fille assise, les cheveux dénoués ( Jeune fille en bleu), 1919 Oil on canvas 393⁄8 x 25¼ inches (100 x 64 cm) Signed upper right: Modigliani

亞美迪歐·莫迪里安尼（義大利，1884–1920）

《垂髮而坐的女孩（藍色女孩）》，1919油彩畫布

393⁄8 x 25¼ 英寸 (100 x 64 公分)簽名右上: Modigliani

Marc Chagall (russian, 1959–1968)

Le peintre et la tête d ’animal rouge, 1959–1968 Oil, bodycolor, watercolor and color chalk on paper laid on canvas 251⁄2 x 185⁄8 inches (64.8 x 47.3 cm) Signed lower left: Marc Chagall

馬克·夏卡爾（俄國，1959–1968）

《畫家與紅頭的動物》，1959–1968油、水粉、水彩、粉彩、紙與畫布

251⁄2 x 185⁄8 英寸 (64.8 x 47.3 公分)簽名左下：Marc Chagall