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IVAM Opens First Exhibition in Europe by Chinese Artist Wang Xieda

In Uncategorized on July 31, 2010 at 3:40 am

Chinese artist Wang Xieda poses between his sculptures ‘Sages’s Saying 013’ (L) and ‘Sages’s Saying 058′ (R) at an exhibition on his work organized by the Valencian Institute of Modern Art (IVAM) in Valencia, Spain, 27 July 2010. The exhibition, that was inaugurated today and can be seen until 29 August, shows 12 sculptures and 14 drawings of the Chinese artist for the first time in Europe. EPA/MANUEL BRUQUE.

VALENCIA.- The exhibition presents for the first time in a European museum this artist’s work brings together 12 sculptures and 14 drawings Xieda Wang’s calligraphy, Chinese artist who combines in his works the influence of calligraphy in the Eastern tradition and contemporary currents of Western art .

This is the first exhibition of the Chinese artist Wang Xieda in an European museum. It consists of 14 drawings and 12 sculptures that shows his artistic production. This production allows us to appreciate the expressiveness of the artist who moves away from figurative tradition and from the limits of the traditional artistic structures. His work conceptually goes into new sculptural techniques. Wang Xieda’s work combines classical techniques using ink and paper from the traditional calligraphic arts with an sculptural abstraction reminiscent of western avant-garde.

The catalogue published on the occasion of the exhibition shows the exhibited works and publishes texts about the artist written by Consuelo Císcar, the IVAM’s director, by the director of the Z-Art, Centre of Shanghai, Gong Yunbiao and by the exhibition’s curator Li Xu. It also includes a chronological biography of the artist.

Wang Xieda (Liaoning, China 1968) is an atypical sculptor who exhibits his drawings and large works made with rice paper and charcoal on canvas. His bronze moulds can remind western spectators of the attenuated and “drawn” forms in the space of Giacometti and David Smith. However, Wang Xieda’s sculpture derives, as it is said, from Wang Xizhi, the calligraphic master of the fourth century. The transformation of the two-dimensional works into three-dimensional ones is analogue to the use of his own drawings that have 1.2 meters height. Those works are the starting point of his smaller sculptures: abstract representation of bulls, birds and human figures. They are also a vivid reminder of the fact that the drawings can provide a closer and more intimate perspective of the artist’s thoughts and sometimes, it can be an opportunity to approach the unconsciousness.

In the last twenty years, Wang Xieda, who lives and works in Shanghai, has been devoted to the study of text and calligraphy. The artist isn’t just an admirer of the ancient China, but an admirer of all the ancient civilizations of the world. After years of studying, he realized that many of the pictograms of the first human civilizations were similar. Pictograms were the common way to represent the nature synthesizing the abstract forms in simple metaphors. Lines are the communication language and the more basic and effective way of dissemination taking into account all the visual forms. Chinese characters, a kind of hieroglyphics’ extension used during the human civilization, are still used today. Former Chinese characters began crystallizing during the Banpo phase 6000 years ago. The first textual system totally completed appeared in the Chinese history during the Shang Dinasty in the fourteenth century BC. Like in some other ancient civilizations, the original characters were based on representations of natural images. That leads to a theory about the traditional Chinese art which ensures that painting and calligraphy have the same origin.

Wang Xieda’s recent works show an old style and an elegant pace, reminiscent of the aesthetic origins of the ancient civilizations. His sculptures and paintings create concise and unforeseeable moulds by using simple lines. Wang explores an abstract and purely aesthetic feeling through these visual forms, as for example with primitive totems and the first calligraphic symbols. He perfectly controls the harmony of the dimensions while creating a suitable space. A lot of spectators fall in love with Xieda’s works due to the fact that spectators and author simultaneously see the eternal beauty of concision.

In contrast to the changes of the twenty-first century, cultural and national traditions should find a new and contemporary language in order not to get out of time regarding the aesthetic expressions. This is the only way for younger people to study and inherit the traditions voluntarily. As an artist, Wang Xieda has looked for a common artistic and human experience. His efforts aren’t intended to repeat the past but to use the simplicity and extent of the ancient art in order to recreate it. What makes his art contemporary and timeless is the clear interpretation of the ancient language with the current syntax that he uses to express his experiences and feelings. We can see a natural and serene confidence in Wang Xieda’s works even in difficult and variable environments, exemplified by his competent expression of the national aesthetic. This exhibition that takes place at the IVAM is the first individual exhibition of Wang Xieda out of his country. We hope that the work will be appreciated and understood by western spectators.

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Sotheby’s to hold first ever international auction house sale of calligraphy in Doha

In Uncategorized on July 29, 2010 at 5:37 am

ART MARKET ART AUCTIONS CALLIGRAPHY DOHA

Sotheby’s London recently announced it will hold the first ever international auction house sale dedicated solely to calligraphy in Doha, Qatar, at The Ritz-Carlton Doha hotel, on 15 December. The groundbreaking calligraphy auction Hurouf: The Art of the World will showcase various works ranging from very early Islamic calligraphies to a mix of modern and contemporary Arabic, Farsi and Ottoman Turkish works.

Highlights of the forthcoming auction will travel through the Gulf Region prior to sale, one of which being Ali Omar Ermes’ The Fourth Ode which has an estimated price ranging from USD250,000 to USD350,000.

Ali Omar Ermes’s ‘The Fourth Ode’ (acrylic and ink on paper).
Calligraphy is an art form that has influenced the Doha art scene for many years, and Sotheby’s believes this sale represents the region’s past and present talents. Says Roberta Louckx, Sotheby’s Executive Vice President and Head of Sotheby’s in Qatar, in a the press release announcing the sale:

We are delighted to return to Doha later this year with an inaugural auction devoted to ‘calligraphy’, a theme that has inspired and informed the art of this rich and diverse culture throughout the ages – from the production of the first Kufic Qur’ans to the modern and contemporary artworks of Farhad Moshiri. Sotheby’s is strongly committed to the region, and we are extremely excited to present for sale, in Qatar, the creative endeavours of some of the region’s most talented artists, past and present.

According to the press release, the forthcoming calligraphy sale is built on the success of last year’s Doha sales. After opening an office in Doha in 2008, Sotheby’s held maiden sales in March last year during which an Indian carpet made of pearls and gems fetched USD5.5 million, although the Bloomberg article which reported on this sale also mentioned that the prices of the auctions were disappointing in general. As Dalya Islam, Director of Sotheby’s Middle East Arab & Iranian Art Department, states in the press release,

Last year at our Doha sales Sotheby’s achieved solid success for works by highly sought-after Arab artists such as Chafic Abboud, Nabil Nahas, Ayman Baalbaki, Yousef Ahmad and Ali Hassan. In order to build on this, we have decided to devote a sale to works of significant interest to the region, focusing on calligraphy. The Arabic script has stimulated artists for more than a millennium, and is still a highly regarded and revered art form that reflects the rich history of the region. The auction will emphasise the enduring legacy of Islamic art by tracing the development of calligraphy, with a focus on its contemporary manifestation.

A quest for identity

In Uncategorized on July 21, 2010 at 4:10 am

Janice Tai experiences a new vision of Indonesian art.


IN JAKARTA

A DISTINCT rasping sound was coming from the inner recesses of the gallery. Assuming that it was the murmurings of the crowd gathered inside, I turned my attention back to the paintings near the entrance.

But it was hard to ignore as it went on interminably. Finding myself drawn to the source of the sound, I saw, to my surprise, strings of pearls attached to a black rattan husk, tapping rhythmically against the vibrating husk.   

Such curious exhibits are aplenty in the latest exhibition held in the second week of July at the National Gallery, Central Jakarta, which showcased works from prominent local artists.

The Indonesian contemporary art scene is one of the most vibrant in Southeast Asia, so I jumped at the chance to check out the exhibition. 

Titled “No Direction Home”, it is not just another stuffy and obscure exhibition. It tells of the unique Indonesian quest for identity, be it personal, artistic or national.

“It’s artists’ restlessness. Artists are constantly questioning their identity. ‘Home’ represents our origin, our history, our identity… this struggle is everlasting and not something new in this period,” said Aminuddin TH Siregar, the curator of the exhibition.

That is why the works selected for the exhibition span a period of 50 years, from the 1960s until today.

Instead of themes that grapple with its colonial legacy, the works here confront current concerns of identity amidst cultural diversity and technological progress.

For example, Gusmen Heriadi in his painting titled “Tamu” (Guest) shows a massive array of sofas, facing various directions, with lethargic hooded men sinking into them. It is perhaps his take on how the increasing affluence of the city that has resulted from the influx of foreigners has brought forth stagnancy and blindness. 

This sense of aimlessness also surfaces in a painting by a renowned local artist Isa Perkasa, titled “Pemda #6” (Local Government) which shows civil servants either literally chained to a clock, flattened by a chair or eating at their desk while having foot reflexology. Astutely, she depicts the deadening monotony of life in the civil service and the brashness of certain officials who put their creature comforts as priority.  
  
Identity is also intricately linked to language. Ugo Untoro’s “I’m Today” bears out the anxiety of Indonesians in mastering the English language. His painting shows the phrase “Yes I am getting better now” with three cancellations of the word “now” (which are messy scrawls) to finally reveal the word “NOW” in highly regular and block letters.

Ugo Untoro’s “I’m Today” PHOTO: Janice Tai
Just as Untoro’s painting is an exploration of the crossroads between language, identity and conformity, artist Arahmaiani’s series of three untitled paintings shows the devastating impact of censorship on identity.

In the first painting, we see a lady in nude, with defined breasts, waist deep in water. In the second, the lady is submerged chest deep in the water and she wears a tortured expression. The last painting shows her with water only reaching to her knees, but the outlines of her body has blended into the background, with her breasts as mere smoky shadows.   

Paintings aside, the mixed media installations and audio-visual displays reflect an increasing experimentation with materials and mediums which not only enliven the exhibition, but also provide provocative commentaries.

A fascinating installation by another famous local artist Agung Kurniawan, titled “Potret Seorang Akuntan” (Portrait of an Accountant) makes use of materials like iron and spray paint.

"Portrait of an Accountaint" by Agung Kurniawan

“Portrait of an Accountant” by Agung Kurniawan PHOTO: Janice Tai
Iron rods are bent to create a picture of an accountant writing at his desk, with a typewriter placed beside him. As light shines on the iron rods, the shadow formed on the wall is a duplicate of what is seen on the rods. In this age of mechanical reproduction where art loses its identity through commoditization, the form in which this installation takes is truly an apt one. 

Other artists show that identity is not an abstract concept, but one which is central to life and inevitably, death.

“Recovery prayer beads” is an installation by Astari that has scribblings like “acceptance”, “gratitude” and “vulnerability” written huge orange prayer beads. Between the beads lie body parts like the heart, brain and skull, welded in metal.  It is reminiscent of the trauma that accompanies violent deaths.

Suddenly, the subdued, swishing sound of the pearls against the black rattan husk made sense to me. Titled “Dzikir” (Remembrance), the sound mimics the religious ritual of repetitive chanting.

Art tourism to boost Malaysia

In Uncategorized on July 21, 2010 at 4:05 am

KUALA LUMPUR: Tourism Minister Datuk Seri Dr Ng Yen Yen has gone another step to aggressively put Malaysia on the map by promoting “art tourism”.

“We are positioning Malay­sian art as a tourism product. We encourage tourists to visit the country not only because of food, beaches or shopping but admire homegrown art pieces,” said Ng during an exclusive interview with BBC World News’ Fast:Track host Fiona Foster at the 1Malaysia Contem­porary Art Tourism 2010 (MCAT 2010) held at Galeri Seri Perdana here yesterday. .

Selling point: Dr Ng explaining Malaysian art to Foster at Galeri Seri Perdana yesterday.

Ng added that most tourists viewed Malaysia as a developing country which had not attained cosmopolitan status. She hoped positioning local art as a tourism component would boost the country’s image.

“Malaysia has talented artists who have exhibited beautiful contemporary art pieces. Hopefully tourists will purchase these pieces as souvenirs,” she said.

MCAT is an innovative tourism product by the Tourism Ministry. The festival, which ends in September, features internationally-acclaimed Malaysian artists like Abdul Multhalib Musa, Fauzan Omar, Annuar Rashid, Yusoff Ghani, Eng Hwee Chu and A. Jegadeva.

Fast:Track delivers the latest travel news from the industry itself, offering insights into exclusive and desirable places to visit while looking at issues affecting both the business and leisure travellers.

The programme is aired on Saturday (6.30am and 8.30pm) and Sunday (2.30am and 2.30pm) on BBC World (Astro Channel 512).

Fast:Track’s special on Malaysia features MCAT 2010, Taman Negara National Park and Foster’s homestay experience in Kampung Sungai Haji Dorani, Sabak Bernam, Selangor.

“Malaysia is a fascinating, picturesque place. Through this programme, viewers will get to know what the country has to offer for tourists than a regular holiday,” said Foster, a TV presenter and journalist, who has also spent several years working in the United States.

2010 Martell Artist of the Year: Zhou Chunya

In Uncategorized on July 21, 2010 at 3:56 am

BEIJING— Zhou Chunya, whose 30-year retrospective was held at the Shanghai Art Museum in June and who has just been named one of Martell’s 2010 Artists of the Year, is a leading member of the generation of artists who first brought Chinese contemporary art to the attention of a global audience in the late 1990s. On the face of it, his life follows a familiar trajectory of other members of that generation.

He grew up during the Cultural Revolution (1966-1976) and came of age in time to take advantage of the re-opening of the universities at the close of that decade and embrace the ideas from the West that flowed into China when Deng Xiaoping launched the open-door policy in 1978. Taking up a place in the 1980s avant-garde movement, Zhou, like many of his peers, then spent the post-1989 chill slowly building his career. When the world finally came knocking in the late 1990s, he was ready.

Yet Zhou has never been one to follow the script. As a student, when his classmates were all heading for the booming coastal provinces, he went to Tibet and there produced a series of loving depictions of nomad life which, in all their innocent “socialist realist” splendor, have the power to move even today. Later he went to Germany where he studied at Kassel, the home of Documenta.

Over the years, he has continued to pursue a singular course, devoting himself primarily to developing his passionate and ever-more-fluid painting technique.

Many know him best for his series of paintings and occasional sculptures of his dog, a German Shepherd. Due to a chance splash of color one day, he decided to always render his dog paintings in green, and over the years we have watched his pet grow older, and perhaps a little angrier.

Of late, his art has been of a completely different bent, bucolic and erotic, with a series of works depicting peach blossom orchards. These latest canvases seem to complete a circle for Zhou, hearkening back to his early scenes of Tibetan life, with their celebration of natural beauty, sensual and free.

(The 2010 Martell Artists of the Year were honored Friday July 16 in Beijing. The other artists chosen are photographers Bettina Rheims and Feng Hai, and sculptor Liu Jianhua.)

HK ink art works on display in Shanghai

In Uncategorized on July 21, 2010 at 3:54 am

An exhibition showcasing the development and unique characteristics of ink art in Hong Kong will be held at the Shanghai Art Museum until August 9.

The Legacy & Creations – Ink Art vs Ink Art exhibition features 46 outstanding works by Hong Kong’s talented ink art practitioners.

The exhibition displays the characteristics and achievements of new ink art in Hong Kong. It also aims to encourage cultural exchange among ink artists from Hong Kong and the Mainland.

Ink art is a unique Chinese art form with a long history. During more than 1,000 years of transformation and evolution, ink art has become a fusion of the spirit and accomplishment of different schools and masters past and present.

Through artistic innovations ink art has transcended time and borders and plays a vital role in displaying the diversity and identity of Chinese art with international horizons.

Ink art took root in Hong Kong in the early 20th century. Since then, painters have branched out from the traditional approach to develop their own distinctive styles, often based on new multimedia and digital techniques with global influences.

Painting academy incubator boosts art growth

In Uncategorized on July 21, 2010 at 3:50 am

 

The largest art training center for Chinese painting was set up on Sunday in Tianjin. (Photo source: cntv.cn)

 

BEIJING, July 20 (Xinhuanet) — The largest art training center for Chinese painting was set up on Sunday in Tianjin, thanks to the joint efforts of The Ministry of Culture, China National Academy of Painting, and the Tianjin Municipal Government. The facility will ultimately become a giant incubator for developing the talent of creative artists.

Established in Panlonggu Valley of Tianjin, the art center is designed to integrate multiple functions, including collective creation workshops, galleries, and individual studios. This 10,000 square meter area will serve as a platform for art creation, research, and teaching upon completion. The China National Academy of Painting is also planning to hold exhibitions, forums, and competitions at the center to further promote traditional Chinese art.

The center is initiated by China National Academy of Painting, but its future operation will be run by local enterprises. As a new way of collaboration between corporations and art institutions, the Academy can better utilize its advantage as a talent-pool, while the enterprises can make their contributions based on their business strength.

Yang Xiaogang, director of China National Academy of Painting, said, “The growth of our academy should not only rely on government support. It also needs social input. To set up such a new incubator for art creation in Tianjin is one way for us to explore the possibility.”

In recent years, the culture industry has maintained rapid growth, giving constant support to the national economy. During the culture fever, traditional Chinese painting is gaining more appreciation in the market. Therefore, the new art center is hoping to solve business issues and allow the art industry to enjoy sustainable growth.

Chinese art enchants Chile

In Uncategorized on July 14, 2010 at 8:57 am

BEIJING, July 6 (Xinhuanet) — As far as the distance is between China and Chile, it turns out that art is the perfect way to unite the two nations at opposite ends of the planet. Let’s take a look at an exhibition of contemporary Chinese art that has opened in the Chilean capital Santiago.

From the realistic depiction of Chinese coal miners, to the abstract handling of figures in traditional Chinese operas, the 83 works unveil a panorama of contemporary Chinese art in mediums including oil paintings, sculptures, and installations.

Entitled “Traversing Horizon — Contemporary Chinese Art Show,” the exhibit marks the first time that Chinese modern and contemporary art was displayed in Chile.

The exhibit is part of a week of Chinese art in Chile, dubbed “Week of Art: China Today,” with the modern art exhibition, followed by an academic conference and three performances of folklore.

Lv Fan, Chinese Ambassador to Chile, stressed that the artistic events came at an opportune time, as this year is the 40th anniversary of the establishment of diplomatic relations between China and Chile.

Jorge Pizarro, president of Senate of Chile, said, “This art show is a gift from China for the bicentenary of the beginning of Chile’s fight for independence. You’ll have to know that these excellent works of art are from the furthest country from Chile on Earth.”

These pieces by 24 Chinese artists will be on show at Chile’s National Art Museum for a month. Chinese art lovers will also be given the opportunity to learn about Chilean contemporary art when it is presented at the Beijing Art Biennial this September.

(Source: CNTV.cn)

了解文化才能真正走入收藏的世界

In Uncategorized on July 13, 2010 at 4:24 am

来源 :《北京商报》

  和文物打了40多年交道的张如兰是北京市文物鉴定委员会的委员,同时也是国家文物局认定的金、石、陶、瓷杂项责任鉴定员,除了对带着厚重历史色彩的文物有着敏锐的洞察力,对于当下的文物收藏市场,她同样有独到的观点。
  不可再生性让文物价值连城
  在采访中,张如兰告诉记者,文物有着三个显著特点,历史性、科研性和它的不可再生性,而正是这其中的最后一点,决定了文物有着一般商品无法比拟的经济价值。
  从国家的角度,对于文物的政策一直是保护第一位的。张如兰表示,从1995年以后,我国一些流落到海外的珍贵文物随着国内收藏市场的逐渐兴起而开始回流,而北京作为国内一个文物收藏相对集中的地区则开始有更多珍贵的藏品出现。
  当记者问到,目前整个国际上的经济形势是否会对文物收藏产生影响时,张如兰告诉记者,由于文物的不可再生性,因此好的、有价值的文物的保值、升值是一定的,“除非遇到战乱,当然这样的几率太小了,不然,文物作为软黄金,只要是好东西是一定会升值的”。
  没文化搞不了文物收藏
  面对市场上数量庞大的仿品、赝品,张如兰表示,其实有一些仿品的工艺价值也很高,只是因为这样急功近利的生产,机械化了一切,但这样的机械化终究只能从表面上仿造出样子而不能将文物的文化内涵一并呈现。
  文物的收藏不仅要关注它的历史价值,同时也不能忽视它的艺术性。张如兰风趣地向记者解释道,如果是一把几千年前的石斧摆在面前,也不能当做文物进行收藏,因为它不具备收藏用文物应有的美感,因此,它的价值只体现在研究层面而没有艺术性也就不能列入藏品的范畴。“现在的文物研究更多的是靠一己之力,而在早年间,文物收藏可以称得上是举国文化,因此也难怪会有艺术接受上的差异。”
  “没有文化的人是搞不了文物收藏的。”张如兰告诉记者,无论在哪个时代,什么样的经济背景下,没有文化的人也没办法进入文物收藏领域,“不排除进行投资,但绝对不能算是收藏”。张如兰同时表示,文物收藏一定是远离大众收藏的,一件普通的艺术品的收藏可以是在人们生活中能接触到的,但真正高端到文物层面,就一定要了解藏品背后的文化,单纯地从经济角度进入文物收藏领域不可取也是会有很大风险的。
  在文物收藏过程中,一方面要不断提高自己,并对自己的藏品有更深刻的认识,同时,也要注意收藏市场的商品流动性,“没有买卖,这个市场就‘死’了”。张如兰表示,在不断丰富自己对藏品认识的同时,还会有一个淘汰的过程,这个市场才会更加健康地运转起来。
  北京的艺术结晶来源宫廷
  就目前市场上玉器收藏的一些突出特点,张如兰表示,艺术品的投资一方面要注重其历史性,同时也要从艺术角度加以考虑。对于做工精美、具有一定品鉴价值的新玉,虽然算不上真正的文物收藏,却在当下的大众收藏圈里逐渐升温。对于这样的情况,张如兰表示,一般的新玉收藏品也可以满足普通藏家的收藏需要,同时,也具有一定的价值,“普通藏品一样会升值,不过是和好的相比升值空间比较有限罢了”。同时,她还要告诉普通藏家,在收藏过程中,首先要摆正心态,要发自内心喜欢文物收藏,不要老想着拿小钱赚大钱;其次,选择藏品要专一,买什么类型的、哪个朝代的,要对它的基本特色有深入了解,刚刚入门的藏友不要涉及范围太广;最后,收藏爱好者要想提高鉴审水平还要多学习、多逛博物馆看精品,多细心观察。
  对于今秋在北京举办的第二届北京·中国文物国际博览会,张如兰表示,这届文博会应当办出中国自己的特色,一方面展品应当尽量高端,更应该通过这些文物来展现中国的文化。“比如,从北京的角度,宫廷文化就是北京的一个文化特点,虽然民间也有一些好的藏品,或许可以更深刻地反映生活,但应该说,北京古老的真正的艺术结晶还是来源于宫廷。”
  举办文博会,应当对热爱文物收藏,关注这一领域,甚至是对不太了解收藏的人们起到广泛的影响作用,可以让他们通过文物收藏更多地认识自己的国家,热爱自己的国家,因此,如果完全从商业角度宣传就很难达到这样的目的了。“文物的收藏并不是大众的收藏,而其实收藏也只是表面看到的现象,更多的我们还应该关注文物背后的文化,了解文化才是真正地走进了收藏的世界。”

吴冠中作品迎来牛市:油画年涨61%、国画年涨52%

In Uncategorized on July 13, 2010 at 4:21 am

来源 :《华夏时报》

  6月25日,我国著名的绘画艺术大师、91岁的吴冠中先生仙逝。两天后,上海泓盛艺术品拍卖会上,吴冠中作品《西双版纳村寨》拍出了1104万元的高价。
  7月中旬,吴冠中于上世纪70年代被下放河北石家庄李村五七干校劳动时的画作《洗衣歌》、《春风》两幅油画将在南京经典2010春季拍卖会上被拍卖。
  7月24日-25日,北京荣宝斋第68期艺术品拍卖会上,也将推出吴冠中的两件精品画作,分别为《鲁迅诗意画》和《香港夜景》。
  淡泊名利、仗义执言的吴冠中先生生前并不喜欢市场炒作其艺术品的价格,他曾经说过:“市场的心电图不准确,卖得高的,不见得作品是好的,很多是炒作出来的。我希望我的作品由历史来定价。”
  但是,在目前热钱涌动的艺术品市场,吴冠中的画作几乎不可能不成为投资者追捧的对象,南京经典2010春季拍卖会上推出的吴冠中“粪筐时期”的两幅作品,以及北京荣宝斋推出的两幅画作,很快就成为了艺术品投资界的焦点。
  吴冠中油画年涨61%
  作为20世纪中国绘画的代表画家之一,吴冠中的作品无论是国画还是油画,一直都占据中国艺术家画作拍卖的高位。
  据雅昌艺术网油画100成份指数的最新监测数据显示,目前为止,吴冠中的油画在拍卖会上的成交价为255万元每平方尺,总成交量为1443件,作品的总成交价高达20.1亿元。
  今年春季拍卖会以来,有9件吴冠中油画作品的成交价格比去年上涨了61%。其中吴冠中作于上世纪70年代的画作《西藏寺庙》在6月2日北京保利拍卖会上,拍出5824万元的天价。
  在今年发布的《2010胡润艺术榜》中,吴冠中位列第二,作品2009年公开拍卖的总成交额为2.2亿元,比2008年增长了18%,其中最贵的两幅作品为北京保利拍出的1975年作《坦桑尼亚大瀑布》(3080万元人民币)和中国嘉德拍出的1979年作《北国风光》(3024万元人民币)。吴冠中曾在《2008胡润艺术榜》上占据榜首,在《2009胡润艺术榜》中排名第四。
  吴冠中的国画作品同样价值不菲,其1995年作《柳荫沐牛图镜心》1456万元的成交价是去年一年中价格最贵的国画作品。
  雅昌艺术网国画400成份指数的监测数据显示,今年春拍以来吴冠中国画作品的价格攀升至56万元每平方尺,升幅达到52%。今年春拍共有47件作品成交,总成交额达到1.17亿元。其中最贵的一幅国画作品为北京保利6月2日拍出的《美国大峡谷》,成交价高达2800万元。
  作品升值潜力骤增
  6月27日,吴冠中去世后两天,其油画作品《西双版纳村寨》就拍出1104万元的高价,艺术品收藏市场对吴冠中去世的消息反响巨大。美术馆和拍卖行纷纷推出缅怀大师吴冠中的活动。
  7月7日-8月2日,中国美术馆推出“不负丹青——吴冠中纪念特展”,展出中国美术馆珍藏的全部62件吴冠中的作品。
  北京保利拍卖与保利艺术博物馆将于8月30日-9月6日举办《风筝不断线——缅怀吴冠中先生全球华人珍藏作品展》,届时将展出百余幅吴冠中的经典力作。
  北京匡时国际有限公司董事长董国强表示,吴冠中是当代最杰出的美术大师之一,其作品从上世纪80年代末就在海外佳士得、苏富比两大拍卖行上竞拍,且当时的价格也很高。近几年内地艺术品市场火爆,吴冠中的画作陆续拍出3000万-5000万元的高价。吴冠中的艺术成就在当代美术史上有着重要的地位,他去世后作品价格将保持一个上涨的趋势。
  从雅昌艺术网吴冠中个人油画和个人国画指数图可以看出,近几年来吴冠中作品涨势惊人,其油画作品从 2008年秋拍时起,价格就持续上涨。今年春拍中拍出5712万元高价的《长江万里图》,2006年秋拍时候的成交价为3795万元,短短三四年间价格就上涨了约2000万元。
  吴冠中对自己的画作要求极其严格,多年以来,他始终保持着烧自己画作的习惯,为的是留下真正的精品,保留让明天的行家挑不出毛病的画作,这一习惯让吴冠中的作品更具收藏价值。1966年,他把自己回国后画的几百幅作品烧掉;1991年,当时吴冠中的画作在市场上价值已经非常高了,但他还是将自己十多年来不满意的200多幅作品一齐烧掉。
  吴冠中仗义执言、敢说真话的性格,不仅仅为自己赢得了广泛的尊敬。拍卖公司一贯有“不保真”的潜规则,2005年和2009年,两幅署名吴冠中的油画《池塘》、《松树》分别在北京和香港被拍出,吴冠中本人经过辨认,认定画作系伪作,并在画作中签上“此画非我所作,系伪作”。这种敢说真话的行为,让吴冠中画作真品的价格也随之水涨船高。
  画家去世作品价格水涨船高
  一般来说,画家去世后作品升值是惯例,造就这种趋势的原因是,去世的书画家不能再进行创作,其作品在市场上会越来越稀少,藏家对这部分画家的作品也会格外重视,不肯轻易出手,导致市场上难觅他们作品的踪影,因此给作品留下了较大的升值空间。
  去世后作品大幅度升值的艺术家莫过于梵高,梵高生前作品不为世人所认可,死后留下的每幅作品几乎都能拍出天价,目前仍是西方油画界作品价值最高的画家之一。2004年梵高画作《拿烟斗的男孩》拍出1.0416亿美元的天价,至今仍是全球画作拍卖的翘楚。
  著名画家陈逸飞2005年去世以后,其作品价格就连年上涨。据雅昌艺术网监测数据显示,陈逸飞作品在2010年春拍中,画作均价为86万元每平方尺,涨幅高达180%。今年春拍中,陈逸飞最贵的一幅作品为《弦乐四重奏》,由香港佳士得于5月29日拍出,由300万港元起拍,最终成交价为6114万港元。