0014 1999 年作 蓝宝石 油彩 画布
作者 忻东旺（1963-2014）
尺寸 80×65cm
作品分类 西画雕塑>油画
创作年代 1999 年作
估价 USD 30,440-39,860
专场 现当代艺术
拍卖时间 2019-01-26
拍卖公司 新加坡33拍卖行（33 AUCTION PTE LTD）
拍卖会 2019年新加坡艺术周拍卖会
款识：东旺 1996.6（右下）《蓝宝石》
说明 80 × 65 东旺（画背）
XIN DONGWANG — A World Forgotten
忻东旺 - 遗忘的世代
Xin was a Chinese artist who was born into humble beginnings in the remote village of Xinjiafang in Kangbao County， Hebei Province. To make a living， he took on jobs of a transient nature， which included working as a house painter and a glass cutter. The humble beginnings of his socio-economic status provided him with the many imageries of faces and people that he would later transfer onto the canvas. Although he gradually rose through the rungs of society to become an associate professor in the painting department of the Academy of Art and Design at Tsinghua University， he never deviated from painting portraits of people from the most ordinary walks of life. He received national recognition for his painting Honest City (诚城)， which depicts five waiting migrant workers. His paintings do not romanticize his subjects – one gets the sense that Xin conscientiously aimed to express the spirit of a social class though his portraits. His subjects are painted frankly and emotively – telling signs of their social class are given in the portraits: the deep lines of worry， the reddened skin from labour under the sun， wizened body structures. Through his social portraits， Xin reasserts their place in a society that is increasingly carried forward on waves of wealth and prosperity.
Xin titles his paintings with a good dose of irony， often tagging his subjects with the role or identity rendered by society. The implication is that these titles deny the humanism of the subjects. Xin is a master at expressing the inner hopes， apprehension， and psychological state of his subjects – making them emblematic of the forgotten lower class of society. For example， Blue Diamond represents the aspirations that parents in the rising class place on their children， which is contrasted with the stagnant and apprehensive expression of the subject.
忻东旺出生在非常淳朴贫困的河北省康保县辛家坊僻远农村的家庭。为了生活，成年后就从事过很多零时工，如油漆工，玻璃车工师。这些艰苦的经历，和工友们的面孔根深蒂固的在脑海里留下了烙印，而后演绎在他从后的艺术创作中。以自身的才华，他逐渐走上更高的社会阶层，在清华大学担任美术学院绘画系副教授，但他的作品却从不偏离这些最平凡朴素社会底层的人物。因为这独特的绘画题材，他的作品《诚城》描述5名外来劳工的作品获得了国家的认可。他的作品从不刻意美化画里的人物，能感受到画家想通过真切的绘画功力，描叙社会边缘人物的精神。他的人物题材都是坦率的，真挚的，而他们所经历的生活和处于的社会阶级在昕东旺的笔下历历再现;忧心忡忡的表情，阳光爆嗮下劳动者发红的皮肤，虚弱的身躯，等等......通过这些肖像，在一个越来越富裕和繁荣的浪潮中昕东旺重拾起这些被社会遗忘的边缘人物。
0029 1951 年作 街景，新加坡 丁加奴街 油彩 画布
作者 刘抗（1911-2004）
尺寸 97.5×131cm
作品分类 西画雕塑>油画
创作年代 1951 年作
估价 USD 50,730-72,470
专场 现当代艺术
拍卖时间 2019-01-26
拍卖公司 新加坡33拍卖行（33 AUCTION PTE LTD）
拍卖会 2019年新加坡艺术周拍卖会
款识：刘抗一九五一年（右上）
LIU KANG（画中部）
说明 出处
资深藏家藏品
Liu Kang was a pioneer artist who was a key figure in establishing a local style in Singapore’s visual arts， known as the Nanyang Style. Born in 1911 in Yongchun， Fujian， China， Liu Kang spent his early years in Malaya where his father worked as a rubber merchant. He continued his studies in China’s Jinan University Middle School in 1926 and took art classes at Shanghai College of Fine Art during the school holidays. Liu continued his art education in Paris， France at the Academie de la Grande Chuamiere from 1929 to 1933. Liu Kang came to Singapore in 1942 and has been credited with numerous contributions to the local arts scene. Together with his fellow Nanyang style painters， Liu developed a large body of work that expresses a unique Southeast Asian consciousness as experienced by the Chinese diaspora.
One such work is Street Scene， Singapore Trengganu St that is painted in 1951. This work is one of the large scale work of his early years which depicts the bustling scene of a bygone era. Painted in great details with a myriad of colours， it captures the frenzied nature of activities happening in the street， which takes its name from Terengganu， a sultanate state on the Northeastern side of present-day Peninsular Malaysia. Located in the Chinatown of Singapore， the road links Pagoda Street and Sago Street， and is intersected by Temple Street and Smith Street. Trengganu Street was described as “the Piccadilly of Chinese Singapore” in the past. In Hokkien， the street is called “the cross street of Kreta Ayer 牛车水横街”. This day to day scene gives a glimpse of what an immigrant would have encountered in 50s Singapore as part of the Chinese diaspora， interlacing history and personal experiences on a canvas.
刘抗的艺术实践为新加坡开辟了独有的南洋艺术风格，是一位先驱性的艺术家。1991年出生在福建，永春县，早年因为父亲的橡胶事业设立在马来亚，因此童年时光也在这里度过。而后，1926年回到，就学在暨南大学附属中学，假期期间往返上海美术学院精修自己的绘画爱好。1929 – 1933年间前往法国巴黎的大茅舍画院Academie de la Grande Chuamiere 继续深造艺术绘画。1942年来到新加坡后，为这里的艺术界贡献了自己一生的艺术理想。和同辈的艺术朋友开辟了南洋风格绘画，作品展示对东南亚风情，华侨移民的体验和经历。
钤印：曼峰（右下）
说明 LEE MAN FONG’s Refined Animal Portraiture
李曼峰的动物绘画作品
One of Indonesia’s most renowned artists， Lee Man Fong and his family first moved to Singapore from Guangzhou， China， when he was just three years old. Lee spent his formative years in Singapore， where he was educated in Yangzheng School， and taught the techniques of sketching by Mei Yutian， an artist of the Lingnan school. He subsequently attended St Andrews School， where his painting abilities were recognised. Lee’s artistic career started from drawing cartoons and painting billboards for advertising firms. His artistic talents started to be professionally recognised when he moved to Indonesia in 1932， and served as the chief art designer for a Dutch firm.
在印度尼西亚时期，李曼峰接触到了许多精湛的欧洲油画，这些是当年巴达维亚Bratavia（今日的雅加达）殖民地时期进口的作品，也契机地让李接触到西方艺术的表现形式。回来后第二次世界大战期间，在监禁期间经历了磨难。战争结束后，1947年幸运的获得荷兰政府的津贴到荷兰学习艺术。在荷兰时，他的作品并不受欢迎，常常北批评为欠缺东方色彩，也是这时候李曼峰发觉到，在寻找他所追求的艺术时应该巡回自己的根源。寻找一种本土表达方式，技术和东方人的特征。
本次拍卖，我们很自豪地展示两幅分别描绘鲤鱼和鸽子的画作。以李氏典型的风格绘制，动物肥润的身形寓意繁荣和财富。在背景中的芦苇和高耸悬崖可以看到画的参考。
“The world of art is a garden with myriad blooms.“
— Lee Man Fong in The Oil Paintings of Lee Man Fong， page 11
“艺术世界是一个狂盛的花园。” - 李曼峰，李曼峰油画集，第11页
