南京经典拍卖有限公司

图录号：	453
名称：	春风
作者：	吴冠中
尺寸：	34×11.5cm
估价：	RMB 250,000 -- 400,000
说明：	木板油画 1972年作来源：扬州国画院副院长周鹤云旧藏，得自于画家本人。 WU GUANZHONG(B.1919) SPRING BREEZE Oil on Board Painted in 1972 RMB 350,000 PROVENANCE Acquired from the artist by Assitant Dean of Yangzhou Chinese Painting Academy Zhou Heyun 拍品说明 1970年，吴冠中被下放到河北石家庄李村五七干校劳动。1972年，被允许每星期日作画。因乡下没有画具，就用当地的硬纸小黑板作画，用农民拾粪的柳条筐作画箱，人们戏称他为粪筐画家。在粪筐上画出了一批感情真挚、乡土气息浓郁的油画，如《瓜藤》、《高梁》、《柴扉》、《山花》、《喜鹊》、《丝瓜》等。周鹤云旧藏的《洗衣歌》、《春风》两幅油画即为吴冠中这一时期所作，所以作品大小、技巧与风格完全一致。据吴冠中文集所言：这一时期他的作品都没有签名，有签名者不是自己出版时补款，便是伪作或伪款。《洗衣歌》与《春风》二件作品虽无款识，从作品面貌与收藏缘由可知为吴冠中真迹无疑，皆为吴冠中“粪筐”时期的典型作品。从吴冠中的经历与记载可以推断，这两幅作品应作于1972年或1973年的春天。画家以赤子童心般的眼光与感情选取题材，以千锤百炼的自家语言加以表现。《洗衣歌》表现了河北青年妇女在北方河道中的洗衣场景，那优美朴实的动态身影那水因洗衣而起的圆浪以及中景与远景中的白鹅与桦树，使画面赋于了浓郁的地方色彩与诗意。《春风》则是一幅特别简练且具有表现力的风景佳作，颤动的笔触与透亮的色彩，让你如身临其境一般，如能听到不息的风声, 感受到春天的暖意。此画构图大胆奇特, 高高的树占满了画面之大半, 与右下房舍与点景人物造成强烈的反差。这种表现手法为吴冠中后期经常釆用成为吴家样的一种特征。这个时期，经过了多年的文化大革命，吴冠中巳经许多年被剥夺了自由作画的权利，一旦开禁，多年积蓄的画思与激情喷薄而出，感觉特别的新鲜，感情特别的真挚，作品也特别的感人。加之“粪筐”时期相对短暂，且一周只有一天允许作画，所以这一时期的作品在吴冠中多产的一生中且显得特别的稀有与珍贵。这二件拍品，为吴冠中艺术爱好与收藏者提供了一个难得的欣赏与购藏机会。周鹤云（1941-1998）江苏扬州市人, 原扬州国画院副院长，扬州美协副主席，江苏省美术家协会会员，国家二级美术师。在河北军队服役时为部队美术骨干，曾承吴冠中，李琦，刘勃舒等名家指导。专攻山水，亦画花鸟、人物，作品多次参加全国、全军及省、市美展。周鹤云在二十七军服役期间，为军部宣传干事与最好的油画家。1971年随军进驻河北石家庄，并参与吴冠中、李琦、刘勃舒等画家所在的“五七干校”的监督与管理工作。周鹤云借此机会向北京的画家们学习，并为他们恢复作画提供了力所能及的帮助。当时画家们不但对其绘画进行过指导，对他给予的帮助亦表岚示由衷的感谢，故都有作品赠送给他。周鹤云当时在军部绘画条件优越，曾给吴冠中提供过油画颜料、画布画板等。《洗衣歌》、《春风》两幅油画即为吴冠中1972年至1973年赠送给周鹤云的作品。作品由周鹤云家属委托杨州一品画廊代理并送拍。本文作者：庄天明（现任南京博物院艺术研究所所长，著名画家，中国书法家协会会员） In 1970, Wu Guanzhong was exiled to work at Five-Seven School of Li County, Shijiazhuang of Hebei province. 1972, he was allowed to paint on Sundays. Since there were no proper painting materials in the rural areas, he used small local cardboard blackboards to paint on and willow baskets, which were used to store piked up manure, as painting baskets. People referred to him as “manure basket painter” jokingly. Wu completed a serires of sincere, full of rural taste paintings, such as “Melon Vines”, “Sorghum”,“Door of Brushwood”,“Hillside Flowers”, “Magpie”, “Sponge Cucumber”, etc. Two works of “Laundry Song” and “Spring Breeze” collected by Zhou Heyun were works by Wu Guanzhong of this time. Thus the sizes, techniques and styeles are consistent. Wu Guanzhong mentioned in a catalogue that all his works of this time period are not signed. If signed, the signature is either forged during publication or the work is not genuine. Though “Laundry Song” and “Spring Breeze” are not signed, it is obvious that they are done by Wu Guanzhong because of the style and of the collecting provenance. They are both Wu’s typical works of the “Manure Basket” era. From Wu Guanzhong’s experience and records, one could determine that they were completed in the spring of either 1972 or 1973. The artist selcted the subject matter with a child’s eye and emotions, and presented with his own experienced language. “Laundry Song” presented the scenery of young Hebei women doing laundry in the northern rivers. The elegant yet simple figures, the rippling of the water from the clothes, and the white geese and birke tress of the mid and far sceneries put intense local colors, taste and poetic feeling to the work. On the other hand, “Spring Breeze” is an excellent simple yet representative scenery depiction. Lively brushstrokes and strong colors bring you to the scenery depicted, as if you could feel the breeze and the warmth of spring. Composition of the work is daring and interesting. Tall tress take up more than half of the composition, contrast the houses, people and scenery in the bottom right corner of the painting strongly. This depiction method was used widely in the later creation era of Wu Guanzhong, and becomes a characteristic of the Wu technique. At this time, Wu Guanzhong experienced years of Cultural Revolution, and the right to paint freely was taken away for several years. Once opened up, passion and ideas accumulated over the years burtsed out, which makes the painting expecially fresh, sincere and touching. Plus “Manrure Era” is compareatively shorer, and he could only paint once a week, the works of this era are expecially rare in Wu Guanzhong’s productive life. Thes two works, prove Wu Guanzhong lovers and collectors a rare opportunity to appreciate and collect. Zhou Henyun (1941-1998), born in Yangzhou of Jiangsu province. Once the vice dean of Yangzhou Traditional Painting Academy, vice president of Yangzhou Arts Association, member of Jiangsu Arists Assosiation and National Second Level Artist. He was the military mainstay artist during his commission of Hebei military, instructed by famous artists such as Wu Guanzhong, Li Qi and Liu Boshu, etc. Specialized in landscapes, also does flower and bird paintings as well as portraits and figures. His works entered national and local exhibitions. During his military commission at No. 27 unit, Zhou Heyun was the propaganda agent as well as the best oil painter. In 1971, his unit stationed at Shijiazhuang of Hebei province, and participated in the supervising and management of Five-Seven School, which artists Wu Guanzhong, Li Qi and Liu Boshu were staying at. Zhou utilized the opportunity to learn from the Beijing artists and gave help to restore their painting conditions. The artists did not only give intructions to his painting, but also showed great appreciation for his help. Thus they all presented works as gifts to him. Zhou Heyun had great painting materials within the unit, and once provided Wu Guanzhong with oil paints, canvas and other materials. “Laundry Song” and “Spring Breeze” are gifts from Wu Guanzhong to Zhou Heyun during the 1972-73 era. Works are provided by Zhou’s family to a gallery in Yangzhou, managed and auctioned. Article by Zhuang Tianming (Zhuang Tianming: now working as Dean of Institute of Fine Arts Research of Nanjing Museum. Famous Painter, Member of the Chinese Calligraphers Association)
成交价：	358,400
拍卖会：	南京经典2010春季拍卖会
专场：	中国现当代艺术专场
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