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108       胡格斯．克勞德．畢沙羅 b.1935                 Hugues Claude Pissarro

                  ౷זГ͞ග                              Le Champ de Placy
                  ذ੹ ೥̺                              Oil on canvas
                                                               5
                  ɓɘɘɖϋЪ                             50 × 61 cm. 19  /8 × 24 in.
                                                     Painted in 1997
                  ಛᗆ
                  H.Claude Pissarro€̛ɨ              Signed in French on bottom right; signed and titled
                  H. Claude Pissaro le Petit-Fils; Le Champ de   in French on the reverse  ߡࣸ౶gд௶ᅃgଭӍᖯ؈෤Ԣ
                  Placy ( ೥ߠ )                       PROVENANCE                          ٙΛߚૠत‘d 60.3 Ò 73 cmd2021
                                                     Kwai Fung Hin Art Gallery, Hong Kong  ϋשርϓʹᄆ 244,600 ʩಥ࿆
                  Ը๕                                 Acquired directly by present private Asian collector
                  ࠰ಥ֙ᔮ৐೥఼                            from the above
                  ତԭݲӷɛᔛ࢕ٜટᒅІɪࠑԸ๕                    Note: A label of Hong Kong Kwai Fung Hin Art Gallery
                  ൗj೥ߠ൨Ϟ࠰ಥ֙ᔮ৐೥఼ᅺᜀdЪۜ຾ᖵஔ              is affixed on the reverse. The authenticity of this
                  ࢕˾ଣ೥఼ Stern Pissarro Gallery ᆽႩމॆ༦  work has been confirmed by Stern Pissarro Gallery
                  HKD 45,000 – 80,000
                  USD 5,800 – 10,300

        Ϥːτஈdک݊шඊ
        ߡࣸ౶gд௶ᅃgଭӍᖯٙᓃ੹Ϋᓥ
                                                                   Where the Heart Is at Peace, There Is My
       ˜Ыఃᛇʡჿdəʔৎ̮ٙ਷ɛdҢఃᛇථdԟᗙ࠭ཀٙථdߕѶٙථf™                           Hometown
                     { ج਷˖ኪ࢕تतഺဧ€Charles Pierre Baudelaire)̮਷ɛ‘   The Colourful Return of Hugues Claude Pissarro
        ̔Ϸߚ·ଭӍᖯ (Camille Pissarro) މГ˙Ι൥ݼɽ࢕dೌᅰᝈ٫ѩಀމՉ೥ʕ᎑ᑿ           Huges Claude Pissarro is gifted and was often inspired by
        Ͼ๝าٙ͞෤І್ࠬΈഹ৖dШא஢ʔٝՉᖵஔ˂΅ɰމɿ࢑וᛕdՉɿڭᖯ - ࡾ                     the family of Pissarro. In the 1950s, he studied at the l’École
        Ϸဧ·ଭӍᖯ (Paulémile Pissarro) ၾՉ࢑ߡࣸ౶gд௶ᅃgଭӍᖯ͵މ௫̈ٙᖵஔ          du Louvre and the l’École normale supérieure in Paris, and
        ࢕dɓژߵ௫f຅ʕߡࣸ౶·д௶ᅃ˂ረମາdՅࣛ຾੬ᎇ˨ፋᄳ͛dաՉᔠௗf                       after graduation, he was invited by the government to teach in
        1950 ϋ˾کɝጅओࢗኪ৫ձˋኇ৷ഃࢪᇍኪࣧଉிdଭุܝա֜˙ʘᒗࠌᅙॶࡩ΂                    Monaco. In 1959, he was commissioned by the White House to
        ઺dҳԒ઺ԃ̮͵௴Ъʔ኶fί 1959 ϋಀաͣࢗ։ৄdމࣛ΂ߕ਷ᐼ୕ٙЎಌႴ                    paint a portrait of the President Dwight D. Eisenhower. In the
                                                                   1960s, he explored various painting styles, from figurative to
       €Dwight D. EisenhowerᖭႡӽ྅fʬɤϋ˾ܝd˼ѾѾʔ࠷dऒᓳ΢၇ࠬࣸᖭ೥d            abstract, avant-garde to minimalist, and even conceptual art,
        ੽Ո൥Ցפ൥e΋ቜՑ฽ᔊeΎЇᝈׂᖵஔdҦᖵ੻˸ଉிfІɞɤϋ˾dމჃᕎ                       constantly advancing his skills. Since the 1980s, he has used
       ˜ଭӍᖯ™ٙ࢕ૄΈԅd˼ʷԘIsaac Pomié™ݺᚔ׵ᖵእdක֐௴อdί೥̺ɪ                  paint tubes and his fingers to produce landscape paintings.
        ٜટԴ͜ᕙࣘ၍Ꮪ̈ذ੹d˸˓ܸᖭࠬ౻೥f௰୞නᏐʉːήΫՑə˼ࡡ͉Սจ৚                       The masterpiece Le Champ de Placy presented in this autumn
        ᒒٙᓃ੹೥ࠬdԨක֐ІڦήΫᓥ˸͉Τ໇Τdٜࠦ˼ٙԒ˰ʿٵ֛ІҢٙᄆ࠽f                       auction showcases his maturity as an artist in the 1990s.
        ݊ϣ߇שяତٙ౷זГ͞ග‘уމՉɘɤϋ˾ி༏ϓᆞdᘟ˦ॱڡٙഒԳʘЪf                       Rolling Clouds, Beautiful Lingering
        ථ՜ථബdߕλታव                                                  The artwork depicts a sunny and gentle autumn day, with two
                                                                   women conversing harmoniously in a field. The atmosphere
       ˜Ң࿁׵ה౜ᖭٙ˴ᕚ݊ਿ׵ɓ၇ɓԈᒤઋf™                                       in the painting is exuding a sense of tranquil and eternal life.
                                            { ߡࣸ౶gд௶ᅃgଭӍᖯ
                                                                   The two women, dressed in 19th-century clothing, facing
        Ъۜ౜ᖭəɓࡈජΈ๝ᆗٙ߇˚dՇЗɾɿ׵͞ගձດʹሔf೥ࠦ؟ఖช੶डd͛                       each other — the one in a red dress stands upright with her
        ݺंࢹዢێdഗɛྐྵ᎑͑ܩʘชfԒഹ 19 ˰ߏ؂ུٙՇࡈɾɿd޴ൖϾͭdഹߎ                     hands behind her back, while the one in blue bows her head
        ໽ʘɛᕐ˓ߠܝeԒ᜗ٜͭiᔝВ٫࠶࠯ᛃ໐dฆੵᕐᑑdڎᒗ࿁˙fՇɛЧਅ༾                       and raises her arms slightly to welcome the other.
        ਪλdɦЧʝൡহ໑fஹВ໽ٙ᎐ᔝʿϡߎdၾণήٙዐරeၯၠᕙЍʝ໾dঝঝ                       The indigo blue and vermilion clothes contrast with the orange
        ͞௉ගɛيˈՉว଻d˂ɛΥɓfڐ౻ஈdɧಋɽዓɓοરකdӕकίජΈʘɨd                       and green grass, making the figures in the large field stand
        ዓᅂ੏ࢄdၾݓڥٙণήҖϓΈᅂ࿁ˢfՇɛ޴ཞٙ͞ගʃ༩dя࿁ԉᇞ႒⟣dਗ਼                       out and unite nature and humanity. In the foreground, three
        ౻ଉֻܝ̮࢝fІܝd،໢߱੗ٙዓ˝᜚ϣᏪˢdᝨᝨᇼᇼdᇶַፄɝ⌹ͣٙϢϢ                       trees stand in a row, basking in the sunlight, their shadows
        ओථdضᚃՑᇲᔝٙ˂٤f                                               creating a contrast with the soft and bright grass. The
                                                                   diagonal passage between the women expands the painting’s
       ౷זГ͞ග‘މߡࣸ౶gд௶ᅃוᛕ೯౮ᓃ੹ݼٙ௫Ъf˼˸೵ڮeຟ˪ʷٙഅᙃ                       depth. In the background, dense trees interweave, blending
        ࣉ࣍ᄴ؍းݑٙᘴ଻ජΈeণᓉගᒯߒ༪ᚔٙྶߎʃڀeᓃًͣථఖᔎଉЍዓ˝d                       into the titanium white clouds and extending to the azure sky.
        ΎΎᒔࡡ͛ਗІ್ٙ͞ග౻൥dҁߕΎତՉख़˨˜˸ΈኪሜЍ˾ಁᕙࣘሜЍ™ٙᖭ                       Le Champ de Placy is a masterpiece that embodies Hugues
        ೥˴ੵf޴༰׵ෂ୕Ι൥ݼٙᅼᇔ౴ᙴdಀྒྷ༊΢ᗳତ຅˾ᖭ೥ࠬࣸٙߡࣸ౶ · д                     Claude Pissarro’s contribution to the Pointillist movement. He
        ௶ᅃ͜Ѝһᜑɽᑔdᇞૢίᓃ੹ٙഅᙃɨԱᔚ૶౸d೥                                   faithfully recreates the fields’ dynamic and natural scenery
        ࠦһމᔊᆎ৻ଋdʔ̰ᘌᔫf                                              with short, fragmented brushstrokes, capturing the bright
                                                                   sunlight illuminating the grass, the red flowers that seem
        ՉЪٙ་จࠬࣸί௽ᓔܢ஺ٙ຅˾ٟึʕdྼމዹዓɓ                                   to leap between the bushes, and the dotted white clouds
        ᄹʔ̙ε੻ٙτ᎑πίf̈Ԑ̒͛ٙߡࣸ౶gд௶ᅃd                                   surrounding the dark trees.
        ዝ຾הϞࠬࣸٙ༊๪d௰୞˸МᎇՉϓڗٙᓃ੹Ι൥೥                                   His works possess a poetic style that is rare and unique in
        ᓥԸdνΝϋˇࣛၾ˨ፋ̮̈ᄳ͛ɓছd˸࢕ૄٙΙ൥                                   the rumbustious and fast-paced contemporary society. This
        ߕኪމ࣬ਿd͜຅˾ҦجෂוΙ൥ݼ࿁ΈᅂЍ੹ٙࠠ                                    allows viewers to revisit 19th-century France and express his
        ൖdჯᝈ٫Ϋᚥ 19 ˰ߏٙج਷d˸Ϥү೯࿁࢕ඊʘܠf            ̔Ϸߚ · ଭӍᖯࡐ౱ᙶণڀ     longing for his homeland. This is not only the artist’s journey
        வ݊ᖵஔ࢕రҬᓥ੖ٙࣚ೻dɰ݊ᝈ೥٫ක֐ࠠอܠϽ               ˳ ‘d1890 - 1892 ϋ Ъd65.1   in search of a sense of belonging but also an opportunity for
                                               Ò 81 cmd2018 ϋשርϓʹᄆ
       ˜ଭӍᖯ™ٙࣚ೻f                               15,152,000 ʩಥ࿆      viewers to reconsider the journey of “Pissarro.”
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