Page 86 - 亚洲二十世纪及当代艺术
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22        ৵໛ԭ౶gࣳʲ౶ b.1972                    Matías Sánchez

                  ىϺɛ                                Pastor de Overjas
                  ذ੹ ೥̺                              Oil on canvas
                                                                    1
                                                               5
                  ɚ㖼ɓʞϋЪ                             55 x 46 cm. 21  /8 × 18  /8 in.
                                                     Painted in 2015
                  ಛᗆ
                  MS€̛ɨ                             Signed in Spanish on bottom right; signed,
                  Matías Sánchez Sevilla. 2015 Pastor de overjas   titled with the location in Spanish and
                                                     dated on the reverse
                 €೥ߠ
                                                     PROVENANCE
                  Ը๕                                 Galerie Zink, Waldkirchen, Germany
                  ᅃ਷͙ဧᅃਿጳ Zink ೥఼                    Acquired directly by present private Asian
                  ତԭݲӷɛᔛ࢕ٜટᒅІɪࠑԸ๕                    collector from the above
                  ڝjᅃ਷͙ဧ੻ਿጳ Zink ೥఼කͭʘЪۜᗇࣣ           This work is accompanied by a certificate
                                                     of authenticity issued by Gallery Zink,
                  ൗj೥ߠ൨Ϟᅃ਷͙ဧᅃਿጳ Zink ೥఼ᅺᜀ                                           ࣳʲ౶༵͏‘dذ੹೥̺d73.2 x 60 cmd2015Ї
                                                     Waldkirchen Germany
                                                                                    2016ϋЪdשርϓʹᄆ478,800ʩಥ࿆
                                                     Note: a label of Galerie Zink, Waldkirchen,
                  HKD 55,000 – 85,000
                                                     Germany is affixed on the reverse
                  USD 7,100 – 10,900

                                                   A Pastoral Tune that Captures the Colours of the Seasons
                                                   Sanchez Pays Tribute to Goya’s Work
        ɓϜ͞෤ىဂdჯଫ̬֙ˌ੹                              Sanchez was born in Germany, received a good art education from a young age.
        ࣳʲ౶ߧหˑඩʘЪ                                  In his painter father’s rich art library, he immersed himself in works ranging
                                                   from Leonardo da Vinci’s satirical and grotesque portraits to Francisco Goya’s
       ˜Ң੽ʔ࿁Ңٙ೥݄̋ૢૢ࣪࣪d࿁ҢϾԊdઞᎈ׌݊̀ࠅ                  shocking, modern-conscious, and fantastical paintings. He draws nourishment
        ٙdν؈Ңཫ΋੻ٝձ஝ྌλɓʲdԟჿɓʲேਗ਼ᜊ੻˶                  from the practices of artistic masters and pioneers to develop his own unique
        բfᖭ೥ଣᏐ݊ɓఙϞሳ༷ٙᏕdϾڢஷཀʯڗϾՍؐٙ                  style. His works resemble vivid theatres, ingeniously incorporating exaggerated
        ᅼό൬းːዚ༺ϓͦᅺf™                               portraits, everyday objects, and landscapes in a way that constructs wild and
                           {{ࣳʲ౶€Matías Sánchez   unrestrained grand operas showcasing his imagination. His works, rich in depth
                                                   and modern spirit, are highly favoured by collectors and are housed in the CAC
        ͛׵ᅃ਷ٙᖵஔ࢕ࣳʲ౶ІʃաՑԄλٙᖵஔ઺ԃdί                   Málaga, Spain and the USC Fisher Museum of Art.
        ೥࢕˨ፋᔮబٙᖵஔྡࣣ᎜༁d˼௹ᚎࣣʕ੽༺ځփ
       €Leonardo da Vinci฽ՈፘՐจբٙ׉ሖӽ൥dՑ˜௰ܝ         His autumn auction work, Pastor de Overjas, is the most representative portrait
        ɓЗ̚Պɽࢪ™ˑඩ€Francisco Goya˿ɛቤኼêတତ          by Sanchez and evokes memories of Francisco Goya’s work, Shepherd Playing A
                                                   Dulzaina. In the centre of the composition, the protagonist sits on the vast plain,
        ˾จᗆၾӮซٙᖭ೥dІᖵஔ̶Θٙྼስʕӝ՟ቮʱdІ                  dressed in a pure white robe, sitting with legs crossed while smoking, feeling
        ϓɓݼfՉЪνɓࡈ͛ਗٙᄌఙdѶ˓ਅ੻ήᙲ՟།ੵʷ                  content. The artist uses rough brown lines to outline the character’s distinctive
        ٙɛ྅e˚੬ʃيձࠬ౻ɝ೥dݖ࿴̈ɓ࿇࿇ೌ׭ೌҼe                  big nose and large eyes. The depiction of the ears deviates from traditional
        Ӯ௉ٙସɽဂᄌd˿ɛމՉซ൥ɢהұ؂fՉ฽Ոʫᘾɦ                  perspective, employing a quirky style of “small when close, large when far”
        బତ˾ၚग़ٙЪۜᄿաᔛ࢕ఃฌdԨᐏᔛ׵Гफ˫৵ז̋                  and “ high when close, low when far.” The mouth is dramatically painted red,
        ତ˾ᖵஔ௹ي᎜eی̋ψɽኪᖵஔ௹ي᎜f                        even extending beyond the face, as the character grins, revealing uneven teeth,
                                                   creating a comical and amusing effect. He seems to enjoy leisure time in a
       ىϺɛ‘݊ࣳʲ౶௰Ո˾ڌ׌ٙӽ྅೥dϤ˿ɛᑌซৎ࿁                  carefree manner, conveying a positive emotion.
        ˼ᅂᚤ௰ଉٙᖵஔ࢕{{ˑඩٙЪۜىɛє୊‘f೥ࠦʕ
        ːd˴ԉ߈ഹॱͣٙڗசdѬίᄿᒪٙࡡ௉ɪdːတจԑ                  Sanchez, who spent his teenage years in a small town in Andalusia, Spain, found
        ήᔔഹၺפ๧fᖵஔ࢕˸୑ᓲٙಅЍᇞૢʵਔ̈Չഅɨɛ                  the essence of colour application through sketching his hometown’s scenery.
        يᅺႦ׌ٙ˜ɽᄀɿ™e၂ɽٙ଻ຒfϾίЀϢٙՍ೥ۆ༪                 As a result, many of his works are set outdoors, including Pastor de Overjas.
                                                   Unlike Goya’s realistic depiction of the soft glow of dawn, Sanchez uses thick
        ୭ෂ୕ீൖd˸˜ڐʃჃɽ™e˜ڐ৷ჃЭ™ٙփሳࠬࣸ೥                 paints and abstract brushstrokes to represent the vibrant and rich colours of
        ̈fϾՉᄘˋ஗Ꮥᄌ׌ή෩ߎԨ׳ɽdޟЇַФЇᑕ௅ʘ                  nature, paying innovative homage to the classics. In the painting, the shepherd
        ̮d˼ۤᄘϾ३dᚣ̈ਞࢨʔᄁٙ˫኉d๞ᇆஸሳd߰ొ                  is shown sitting on a bed of green grass with rough brushstrokes, while on the
        จήԮաඝะࣛΈf                                  right, several clumps of dry straw
                                                   are depicted in shades of brown and
        ίГफ˫τ༺ጅГԭٙʃᕄܓཀڡˇϋࣛΈٙࣳʲ౶d੽                  grey, revealing the “ebb and flow”
        ࿁࢕ඊࠬ౻ٙᄳ͛ʕҬՑəЍ੹༶ٙ͜ॆፍf͍ΪνϤd                  of nature in different seasons. The
        ՉЪɽε˸˒̮މఙ౻dىϺɛ‘уމɓ׼ԷfϞй׵ˑ                 background sky transitions from a
        ඩ೥ʕોΈฆዳٙᄳྼࠬႶdࣳʲ౶˸ێ෩ᕙࣘeפ൥അ                  pale fish belly white at the right side,
        ᙃΎତІ್ࠬΈഘᙻϾᔮబٙЍ੹d˸௴อߧห຾Պf̥                  gradually turning into a bright blue
        ԈىɛԒɨd୑ᓲٙഅᙃ೥̈ၠততٙণᓉdϾ̛ਉdͪ                  sky in the middle, and finally shifting
        ତ఻ᓉಅϲЍٙ৻ݗῇ೺d࢝ତІ್ᎇࣛືһಁٙ˜ɓ๋                  to a fiery red sunset on the far right...
        ɓݗ࿲™fϾߠ౻˂٤̛͟Ї̸Աϣ̙ԈોΈॎወࣛعৎٙ                 The passage of time, the changing
        ௡Ԃͣd஼နᔷᜊމʕਜ߰ʹࣛರᔝ৷Ⴣٙᔝ˂dϾЇ௰                  of seasons, are all captured on this
        ̛ਉdɦศԒɓᜊމɼජ݈๫ɨԏߎٙ˦ደථnnΈ௕ٙ                  canvas, immersing viewers in an
        ݴᔷe̬֙ٙᜊ౬dΌ௅஗ॶɝவɓ˙೥̺d˿ɛӐቑ׵                  everlasting pastoral symphony that   ˑඩىɛє୊‘d1786 Ї 1787 ϋЪdذ੹೥̺d
                                                   never ends.
        வɓ࠯͑ʔໝ࿇ٙ͞෤ىဂf                                                           130 x 134 cm.dГफ˫౷זε௹ي᎜ᔛ
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