SANYU (1895-1966) The ringmaster, Mr Loyal, on his horse, 1926 Oil on canvas, signed and dated upper right 27.2 x 19 cm - 10 3/4 x 7 1/2 in PROVENANCE Collection Henri-Pierre Roché, Paris Collection Alexandre Netsa - Mamonoff / Marynen (avant 1940) Collection privée, Belgique (par descendance des précédents entre 1991 et 2003) BIBLIOGRAPHY This work will be included in the forthcoming edition of Sanyu catalogue raisonné compiled by Rita Wong, The Li Ching Foundation. SANYU - CHEF DE FILE DE L’ART MODERNE CHINOIS Born into a wealthy family in Sichuan province, Sanyu grew up in an environment that was conducive to the development of his artistic talents and the birth of his passion. Encouraged by his father, an animal painter, he learns calligraphy and Chinese painting at a very young age, disciplines that will have a strong influence on his work. Sanyu came to France and settled in Montparnasse around 1923. The young painter chose to attend the Académie de la Grande Chaumière rather than an overly academic education. Along with Xu Beihong and Lin Fengmian, he was one of the first generation of Chinese artists trained in Paris. While the latter later returned to China, Sanyu preferred to continue to concentrate on an even more advanced artistic research and, sensitive to the bubbling artistic emulation of these years, he chose to settle in France. The Roaring Twenties attracted many artists from around the world to Paris: the Italian Amedeo Modigliani, the Russian Marc Chagall, the Polish Moses Kisling, the Japanese Tsuguharu Foujita... The School of Paris concentrated all the new artistic ideas of the time. The richness of this atmosphere is fertile: Sanyu spends a lot of time in the cafés of the Montparnasse district, such as the Coupole or the Dome. He constantly sketched the regulars around him, sometimes directly on the paper tablecloths of the café. He rubs shoulders with Modigliani, Man Ray, Brancusi, Matisse and Picasso. While some, such as Foujita, who was a worker but also a socialite, were careful to promote their work, Sanyu, who was more discreet, was more concerned with the search for excellence in technique, and with the transcription of the simplicity of feelings through ever purer and clearer lines. Sanyu’s work attests to his attachment to his native country. In particular, he shows his admiration for Ba Da Shan Ren, a 17th century Chinese artist (1625-1705), whose work conveys the sense of isolation and loneliness he felt at the end of the Qing dynasty and the birth of the Ming dynasty. Nearly three centuries later, Sanyu, now living in Paris, also feels the distance from his roots and, quite naturally, draws inspiration from his illustrious predecessor. In the works of Ba Da Shan Ren and then in those of Sanyu, we are often impressed by these small animals, or birds, which seem lost in a very vast space, an impression amplified by the violent contrast, rendered thanks to the proportion of the lines. The extreme simplification of these lines focuses the attention of the public on the powerful inner feeling that emerges from the works, pride, solitude, joy or sadness. From the entirety of Sanyu’s work, a few major themes emerge: animals, flowers, and the nude. While the nude on a live model remained a delicate subject in China at the beginning of the 20th century, the artistic freedom that reigned in Paris opened new perspectives for the artist. He excelled on paper and flourished through a panoply of talented sketches. Following the precepts received in his childhood, they emphasize the “subjective use of features to express the appearance and spirit of the subject” instead of simply reproducing the shape of the subject. He renders in a few precise and skilful strokes, the soul of the subject presented, and that beyond its simple appearance. The recurrent presence of the single eye, like a wink reminding us of this opening of the subject to the world, sums up the talent of the artist. If the artist’s first watercolors reveal a delicate combination of line and figure modeling, his inks evoke the purity of Chinese calligraphy. It is thanks to the transition to the oil technique that Sanyu will finally assert his personal style. The artist seems to refuse any idea of real perspective in his paintings. However, through the effects of a luminous touch and the delicate play of shades with ivory tones, the defender of Picasso manages in his own way to suggest volume in a very original way. HENRI-PIERRE ROCHÉ COLLECTIONNEUR-MARCHAND The two oil paintings for sale, Le maître de piste, Monsieur Loyal, à cheval, and La théière jaune, acquired during the artist’s lifetime by a Russian collector living in Belgium, have been stored in the safe of his heir for more than 30 years, and are revealed today for the first time. The artist went to Paris in 1920 and decided to settle there: he painted these two pictures only a few years after his arrival in France. They appear today to the general public, after having remained in private hands for over 80 years. The discovery of these two paintings, dated by the artist - 1926 for one, and 1927 for the other - allows a very interesting advance in the knowledge of Sanyu’s work. Indeed, if the Chinese artist’s favorite field has always been ink or watercolor on paper, his painted work is rare and later. What is known to date points to 1929, the date of Sanyu’s meeting with Henri-Pierre Roché, as the starting point for his work in oil. Le maître de piste, Monsieur Loyal, à cheval (The Ringmaster, Mr. Loyal, on Horseback) thus appears in 1926 as a key work in the history of this painter. The chromatic range where the color is vibrant but also this characteristic ring surrounding a spontaneous line also charmed one of the greatest collectors of the 20th century, Henri-Pierre Roché. Author of two novels adapted for the cinema by François Truffaut, Jules et Jim and Deux Anglaises et le continent, Roché devoted a large part of his life to collecting. An inquisitive and avantgarde spirit, he promoted little-known artists to his inner circle, which included such well-informed collectors as Gertrude Stein and John Quinn. He wrote in 1957 in his Confessions of a Collector: « Influenced by the success of Picasso, Marie-Laurencin, I began to support beginners: Pruna [his dancers] now in a monastery in Spain, some of whose women are of a penetrating grace| Ebihara, Japanese with blue and white snowscapes| Sanyu, Chinese, poetic (his Horse Woman)| Marembert (bordering on surrealism)| Papazoff, painter and writer. » 1 From his meeting with Sanyu in December 1929, a friendship but also a relationship of patron follows. This period was the most productive for the artist and in 1932, Roché already had 111 oil paintings and 600 drawings of the artist in his personal collection. Encouraged by Roché, Sanyu received financial assistance to offset his recent financial difficulties following the death of his brother, who had been sending him a pension. The quarrels over money eventually put an end to the relationship between the two friends. The two works presented for sale are part of a group of works acquired by Roché at this time, on which he systematically affixed his monogram by hand. They underline the fruitful nature of the relationship that united the two men and allowed the young Chinese painter to flourish in Paris. Biographical notes This work will be included in the forthcoming edition of Sanyu's catalogue raisonné compiled by the Li Ching Foundation. 1895 Sanyu was born in a province of Sichuan 1919 Journey to Japan 1921 Spent time in Paris before moving to Berlin for two years 1923 Back in Paris, became part of the first generation of Chinese artists to settle in France 1925 First exhibition at the Salon d’Automne (and again in 1928,1946) 1929 Met Henri-Pierre Roché 1930 First exhibition at the Salon des Tuileries (then again in 1932, 1936,1937) 1932 Exhibition at the J.H. de Bois Gallery in Haarlem at Johan Franco’s initiative First exhibition at the Salon des Indépendants (also in 1938, 1942-1946, 1948, 1954 and 1956) 1933 First exhibition at the Kuntzaal van Lier Gallery in Amsterdam at Johan Franco’s initiative (and again in 1934) Participation in the «Exhibition of Contemporary Chinese Art» at the Musée du Jeu de Paume, Paris 1948 Arrival of the second wave of Chinese artists in Paris, including Zao Wou-Ki 1948 Lived in New York and met Robert Frank, remaining there for two years 1963 While visiting France, Huang Jilu, then Minister of Education of Taiwan, Republic of China, offered Sanyu a teaching post at Taiwan University and staged a retrospective in Taipei 1964 42 paintings were sent to the National History Museum of Taipei 1965 Last personal exhibition during his lifetime at the house of his friends and neighbours Etienne and Natacha Levy, Rue du Moulin Vert, Paris 1966 Sanyu died in his Paris studio 1978 Hommage à Sanyu, Galerie jean-Claude Riedel, Paris 1984 Second exhibition in Paris of works on paper in Galerie d’Orient, rue des Grands Augustins 1995 Sanyu, National Museum of history, Taipei, Taïwan 2004 Sanyu, l’écriture du corps, Musée Guimet, Paris La dona, Metamorfosi de la modernitat, Barcelone 2011 Artistes chinois à Paris, Musée Cernuschi, Paris 2017 Paintings and Drawings, Sanyu. National Museum of History, Taipei, Taïwan 2018 An intimate View: Sanyu’s Small Masterpieces Taipei, Taïwan.. Alexandre Netsa-Mamonoff/Marynen’s Collection Alexandre Netsa-Mamonovas (1912-1991) was a Russian immigrant living in Belgium. He married in 1935 Georgette Marynen (1912- 2003), who became my godmother. They have no direct descendants. He first worked as a tour guide, translating the tours in museums into Russian. Afterwards, he acquired a certain knowledge of art and began to spot certain talents in Paris under the guidance of his friend Bénédict L Goldschmidt (1905-1972), a rich banker and art collector. It was during this period that Alexandre Netsa-Mamonoff bought «small» paintings such as a Foujita, a Sanyu, a Max Ernst, a Marie Laurencin, a Van Gogh,... Most of his purchases proved to be good choices. Alexandre, Georgette, my father Alfred, Alla (who had married my father in the first marriage and Benedict in the second marriage) and Benedict were good friends and knew each other before the Second World War. They often feasted together. At the death of his friend, Alla SafievaGoldshmidt in 1989, the extraordinary collection of the couple Alla and Bénédict Goldschmidt is bequeathed to the Museum of Ixelles (Belgium). An exhibition, placed under the high patronage of Their Majesties King Baudouin and Queen Fabiola, was then organized by the Royal Museums of Fine Arts of Belgium (September 21 - December 16, 1990). This legacy will enhance the collections of the Museum of Modern Art with prestigious names such as Picasso, Braque, Miro, Chagall, Ensor, Dali, Chirico, Spilliaert... The couple Mamonoff resold their paintings every time they needed to «bail out». I remember that they had the Sanyu appraised at the end of the 70s but its value was very low at the time. From then on, in order not to have these ‘decorative’ paintings clutter up their bank vault, they placed them on their mantelpiece... I received them after Alexandre’s death in 1991, but before my godmother’s (Georgette). She did not give them any particular importance at that time.  As for the Mamonoff-Marynen couple, they came to live in our house where I lived with my father in the 1980s (one floor was dedicated to them). Extract from a discussion with Georgette Mamonoff-Marynen’s godson, who has kept the two small paintings of Sanyu, in his safe in Belgium since the death of Alexandre Netsa (1991) Le maître de piste, Monsieur Loyal, à cheval is a perfect example of the artist’s ability to combine these two distinct cultures and capture strong elements in each. The small format used here allows for an intimate view. By focusing on the subject, Sanyu offers a very personal approach, the viewer’s eye cannot be diverted from the center of the composition. No element disturbs the reading. The absence of a background combined with a linear perspective reflects the traditional teachings the artist received. In Chinese ink painting, figures and backgrounds are traditionally not depicted, favoring a lateral representation. Le maître de piste, Monsieur Loyal, on horseback follows this 2D dimension, which is reminiscent of kakemonos. From his training in China, he also retains the assured gestures - the use of silk or paper does not allow for repentance. The touch here is spontaneous and sure. From the West, he experimented with oil painting, discovered during his apprenticeship at the Académie de la Grande Chaumière, as well as some work on perspective. Marked by the Roaring Twenties and the ebullience of Paris, Sanyu approaches a colorful palette where green and blue mingle with black and brown. He chooses an evocative subject in each of these two cultures. If the theme of animals is regularly found in his body of work, horses remain a favorite. Loaded with a strong symbolism in China where they are represented in traditional painting, they also remind him of the painting of his father, an animal painter specialized in the representation of horses and lions. In Le maître de piste, Monsieur Loyal, à cheval, Sanyu chooses to immortalize the animal dressed in a harness, in a worked and disciplined pose, mounted by the ringmaster, nicknamed Monsieur Loyal. He illustrates here a scene of the circus, a subject appreciated in Western painting, which also evokes memories of his childhood when he discovered the traveling circus coming from Bejing. The horse seems almost more individualized than the rider, whose silhouette fades behind the form. The rider is disguised to be seen by all and especially from afar, the costume is given pride of place. From this face which seems tiny, hidden between the width of the black garment and the large black top hat, only the large pinkish touch blushing the cheeks of the ringmaster attracts our attention. If this detail is unusual here, it fits very naturally into Sanyu’s work, a simple stylistic transposition of his numerous watercolor portraits.

SANYU (1895-1966) 常玉 《马背上的马戏团团长先生》1926年 布面油画，右上方有签名和日期 27.2 x 19 cm 将收录到由衣淑凡编撰的《常玉作品全集》 文献 本件作品将收录到由衣淑凡编撰，立青文教基金会出版的《常玉作品集》里。 常玉 (1895-1966) 《马背上的马戏团团长先生》1926年 布面油画，右上方有签名和日期 出处 巴黎 亨利·皮埃尔·侯谢 （Henri-Pierre Roché ）收藏 亚历山大·内萨·马莫诺夫/马林恩收藏 （1940年之前购入） 比利时私人收藏（于1991年-2003年从前任 藏家继承人手中购得） 相关作品文献 衣淑凡《常玉油画全集》：油画，国巨基 金会，意大利Li & Keng艺术出版社，意大 利2001年：《马背上的杂技演员》，1930年 代，木板装裱纸上油画，44.5 x 38厘米，编 号20，彩色再版第119页。 衣淑凡《常玉油画全集》：油画，国巨基 金会，意大利Li & Keng艺术出版社，意大 利2001年：《马》，1930/1940年代，布面 油画，59 x 80.5厘米，编号207，彩色再版 第328页。 常玉 常玉出身于四川一个殷实家庭，自小受喜画 鸟兽的父亲熏陶 鼓励，对艺术兴趣盎然并 显示出过人的创作天赋。常玉一生 的创作 始终流露年幼时修习书法和国画的所学思 想。 1923年前后，常玉在巴黎蒙帕纳斯街 区（Montparnasse）落 脚，很快便受到不同 文化的冲击。这位年轻画家不屑于到传 统 美院进修，而是选择了进入大茅舍艺术学院 （Académie de la Grande Chaumière）习画。 一如徐悲鸿和林风眠，常玉也 是第一代留学 巴黎的中国艺术家之一。他们中的大部分之 后 都返回了中国。不过，常玉则决定留在法 国继 续自己的艺术创作和探索。 “疯狂年月”中的花都巴黎吸引了各国众多 艺术家：来自意 大利的阿梅代奥·莫迪利亚尼 （Amedeo Modigliani）、来自 俄国的马克· 夏卡尔（Marc Chagall)、来自波兰的莫伊兹· 基斯林（Moise Kisling）以及来自日本的藤田 嗣治等，巴黎画派融汇了当时各种新观念和新 想法。百花齐放的艺术氛围 为创作提供了热 土：常玉在蒙巴纳斯区的咖啡馆，如“圆顶餐 厅”或“多摩咖啡馆” 度过很多时光。他不 断地给周围的常客画素描，有时直接在咖啡 馆的纸桌布上作画。 常玉也是在这一时期与莫迪利亚尼（Modigliani）、曼·雷（Man Ray） 、康布朗库 西（Constantin Brancusi）、马蒂斯（Henri Matisse）和毕加索（Pablo Picasso）相熟往 来。当藤田嗣治等 既勤于创作又善于交际的 画家将作品宣传得风生水起时，性格 低调内 敛的常玉则只埋头于自己的艺术创作，专注 于技法的精 进，力求以更加凝练的线条传 达纯粹的情感。 常玉的作品中可以看到画家对故国的依恋及 中国传统书画对 其的浸淫影响，甚至让人 遥想到17世纪国画名家八大山人 （1625-1705 ）的简约素雅。后者在画中寄寓了明末清初 改朝 换代间内心的凄寂孤郁。相隔三个世 纪之后，常玉在巴黎的侨居生活中同样感受 到远离乡土的落寞，于是笔下也自然流露出 孤寂乡愁之情。在八大山人和常玉的画中常 常可以看到被置于荒茫之境、四顾无野的鸟 兽，画家更以线条的笔法造型 形成强烈反 差，将这种沧海一粟之感渲染得益发淋漓。 画面中简练至极的线条使观者的注意力完全 集中于隐藏其中的内蕴，从兀傲到悲喜，形 愈简而情愈切。 在常玉的整个作品中出现了几个主要的主题： 动物、花卉和裸体。虽然在20世纪初的中国， 真人模特的裸体仍然是一个敏感的话题，但巴 黎的艺术自由氛围为艺术家打开了新的视角。 随着一幅幅才华横溢的习作，常玉的探索逐渐 深入成熟，注重传统国画所讲求的“气韵生 动”，而不是单纯的“应物象形”。常玉的 画作往往只需精准熟练的几笔，外形神韵皆 跃然纸上。比如其作品中反复出现的独目， 不失诙谐地以开放式的思想刻画主体，堪称 浓缩画家才 思的点睛之笔。 常玉初期的水彩作品可见其对线条描绘与体 积表现的巧妙融合，笔下的水墨线条更是散 发着传统书法的洒脱畅逸。然而常玉个人风 格的最终确立是通过油画创作实现的。有赖 于前期无数素描水彩的反复演练， 常玉在创作中似乎彻底摒弃写实透视的画法， 而采用类西方立 体派的色层堆积。与此同时， 借助象牙色调的微妙光影效果， 这位毕加索 的捍卫者以一种独特的方式成功表现出描绘 对象的 立体感。 这两幅油画：《马背上的马戏团团长先生》与 《黄茶壶》在艺术家生前被一位在比利时定 居的俄罗斯藏家购得，随后在其继承人的保 险柜中存放了30多年，今天首次与世人见面。 艺术家于1920年去了巴黎，并决定在那里定 居：他在抵达法国仅仅几年后即创作了这两 幅作品。80多年来一直在私人手中珍藏，现 在终于首次进入了公众的视野。 这两幅画作由艺术家标柱了日期--一幅创作 于1926年，另一幅创作于1927年。它们的发 现为我们对常玉作品的进一步研究和了解提 供了很大的帮助。事实上，如果说这位中国 艺术家偏好的领域一直是纸本水墨或水彩， 那么他的油画作品则是十分罕见的，并且通 常创作于其艺术生涯的后期。目前已知的资 料显示，1929年，常玉与亨利·皮埃尔·侯 谢结识，这成为他油画创作的起点。 因此， 这幅创作于1926年的《马背上的马戏团团长 先生》即是见证这位画家创作历史转折点的 重要作品。 艺术家所使用的色调充满生命力，并运用了自 信而坚定的笔法，创造出一种极具辨识度的轮 廓线条。这使得20世纪最伟大的收藏家之一亨 利·皮埃尔·侯谢深深为之着迷。 侯谢是两部小说《于勒和吉姆》（Jules et Jim） 和《两个英国人和大陆》（Deux Anglaises et le continent）的作者，随后这两部作品由弗 朗索瓦·特吕弗（François Truffaut）将其改 编成电影。这使得侯谢在去世后声名大噪。 作为一个具有好奇心和前卫精神的人，他将 生命中的大部分时间用于收藏，并热衷于将 鲜为人知的艺术家推向他的艺术小圈子。这 个圈子包括知识渊博的艺术收藏家，如格特 鲁德·斯坦和约翰·奎因。1957年，他在《 收藏家的自白：我的收藏与我》中写道："毕 加索和玛丽·劳伦森的成功鼓励了我，所以 我要开始支持其它年轻艺术家：潘纳笔下女 舞者展现出的优雅令人惊艳；日本艺术家海 老原喜之助描绘的蓝白色雪景；中国画家常 玉充满诗意的女人和马；玛仁博超现实的笔 触；和集画家与作家于一身的帕帕佐夫。” 1929年12月，侯谢与常玉相识并开启了彼此的 友谊，同时他也成为了常玉的赞助人。这一时 期是艺术家艺术生涯中最多产的时期。1932 年，亨利·皮埃尔·侯谢已经以个人名义收 藏了常玉的111幅油画和600幅素描。在画家 遇到经济困难的时候，特别是这一情况因为 长期资助常玉的其兄长的去世而加剧。与侯 谢的这次邂逅给予了他十分宝贵的支持。后 两人因在经济问题上无法达成共识而结束了 彼此的合作。 此次上拍的两件作品正是侯谢当时所收藏的 一系列作品中的一部分，他在这些作品上全 部亲手标记了自己独有的标识。它们见证了 藏家和艺术家之间的相识相知，展现了将两 人联合起来的这段意义非凡的友谊——它使 这位年轻的中国画家在巴黎得以蓬勃发展。  常玉 大事年表 1895 10月14日出生于四川省南充市。 1919 前往日本探望二哥常必诚（1883-1943），并在日本逗留年 余。 1921 如愿前往巴黎“勤工俭学”，后移居德国柏林并停留两年 1923 重返巴黎，成为第一批留法的中国艺术家。 1925 作品第一次于秋季沙龙展出（1928年第二次） 1929 与亨利•皮埃尔•侯谢相识（Henri-Pierre Roché） 1930 作品第一次于杜乐丽沙龙展出。 (19..年第二次) 1932 在约翰•法兰寇的推动下于荷兰哈勒姆市的德柏J.H画廊举 办个展。 首次于独立沙龙展出。 (后分别于 1938, 1942-1946, 1948, 1954 和 1956年展出) 1933 约翰•法兰寇替常玉于荷兰阿姆斯特丹的凡莱画廊举办个 展，展期从5月13至31日。 (1934年第二次) –参加徐悲鸿策划的巴黎国立网球场现代美术馆 （Jeu de Paume de Paris）举办的“巴黎中国绘画展” 1948 第二波中国艺术家陆续抵达巴黎，以赵无极为标志。 他与妻子谢景兰四月份到达巴黎，并于常玉家附近成立了 一间工作室。 1948 常玉前往纽约且逗留两年之久，此期间与罗勃．法兰克 （Robert Frank）结识。 1963 10月，中华民国教育部长黄季陆访问法国，他邀请常玉前 往台湾国立师范大学授课，并举行一次个人展览。 1964 4-5月间，常玉将四十二幅准备参加台北国立历史博物馆展 览的画作运往台湾。 1965 12月17日，常玉在邻居兼好友艾田（Etienne）及娜塔沙• 勒维（Natacha Levy）位于巴黎绿磨坊街的家中举行了他生 平最后 一次展览， 出席者包括他们的众多好友及一些中国艺术家 如赵无极、朱德群、潘玉良及席德进等人。 1966 8月12日常玉在其工作室內逝世，随后葬在巴黎潘桐墓园 （ Cimetière parisien de Pantin），墓地编号1296 TR 1966，位置92-13-5。 1978 巴黎Jean-Claude Riedel 画廊 «致敬常玉»展 1984 年 在巴黎大奥古斯丁街东方画廊举办的第二场纸本 作品展。 1995 台湾台北历史博物馆 «常玉»展 2004 巴黎吉美博物馆 «常玉，书写人体»展 «现代女性畅想»展 2011 巴黎赛努奇博物馆 «中国艺术家在巴黎»展 2017 台湾台北历史博物馆 «常玉»展 2018 台湾台北 細看常玉 常玉的水彩、水墨和油画作品多次出现在奥 古特公司的拍卖专场中。2015年两位私人收 藏家给予公司极大的信任，将两幅重要的常 玉作品交给奥古特公司。一幅是收藏于1960年 代的《白瓶中的两朵霍滕西娅玫瑰》（Deux gros hortensias roses, dans un vase blanc）和收 藏于1970年代的《题诗的瓶与花》（Fleurs dans un vase portant une inscription）。这两 幅作品在拍卖中大放异彩，每幅以超过四百 万欧元的成交价格创造了常玉作品的欧洲拍 卖纪录。几个月后，第三位藏家的收藏《椅 子上的裸女》（Académie de dos）也取得 了一百五十三万欧的佳绩。2017年，一位新 客户委托拍卖他的收藏《盆花》 (Pot de fleurs ou Pivoines), 奥古特拍卖公司果不负藏家的信 赖，超过八百万欧元的成交价格再次刷新了自 己创立的欧洲成交纪录。 我们的特色是通过 组织拍卖会，向国际艺术市场及公众介绍被 遗忘了几十年，从未面世的作品。 以便让每一个潜在买家都能够及时获得通知。  第203号拍品 文献 这些作品将收录到由衣淑凡编撰，立青文教基金会出版的《常玉作品集》里。  亚历山大·内萨·马莫诺夫/马林恩收藏  “亚历山大·内萨·马莫诺夫 （Alexandre Netsa-Mamonovas 1912-1991）是居住在比利 时的俄罗斯移民。1935年，他与乔治特·马林 恩（1912-2003）结婚，后者成为我的教母。 他们没有直接的后代。起初他做导游，把博物 馆的导游词翻译成俄语。然后他获得了一些艺 术知识，并在他的朋友贝内迪克特·L·戈德 施密特（1905-1972）的指导下开始在巴黎发 现某些人才，他是一个富有的银行家和艺术收 藏家。正是在这一时期，亚历山大·内萨·马 莫诺夫购买了一些 “小型”画作，如藤田嗣 治、常玉、一幅马克斯·恩斯特、一幅玛丽· 劳伦森、一幅梵高......事实证明，他购买的大 部分作品都是不错的选择。 亚历山大、乔治特、我父亲阿尔弗雷德、阿 拉（她在第一次婚姻中与我父亲结婚，在第 二次婚姻中与本尼迪克特结婚）和本尼迪克 特是好朋友，在二战前就认识。他们经常在 一起聚会。 1989年，他的朋友阿拉·萨菲娃·戈尔德施 密特去世后，阿拉和贝内迪克特·戈尔德施 密特夫妇的非凡收藏被遗赠给比利时伊克塞 勒博物馆。在波杜安国王和法比奥拉王后陛 下的大力赞助下，比利时皇家艺术博物馆举 办了一次展览（1990年9月21日至12月16日） 。这笔遗赠将加强现代艺术博物馆的收藏，其 中有一些著名的名字，如毕加索、布拉克、 米罗、夏加尔、恩索尔、达利、基里科、斯 皮利亚特等。 马莫诺夫夫妇每次需要 “用钱”的时候都会 卖掉他们的画。我记得他们在20世纪70年代 末对常玉的画作进行了评估，但其价值在当 时非常之低。从那时起，为了不让这些 “装 饰价值 “的画作在他们的银行金库中显得杂 乱无章，他们把它们挂在壁炉上方...... 我是 在亚历山大1991年去世后收到的，当时我的 教母（乔治特）仍然在世。但她当时并没有 特别重视它们。 至于马莫诺夫-马林恩（MamonovasMarynen）夫妇，他们在20世纪80年代来到 我和父亲居住的房子里生活（有一层楼是专 门为他们准备的）。” ——与乔治特·马莫诺夫·马林恩Georgette MamonoffMarynen教子的谈话摘录。自亚历山大·内萨去世后，他 在比利时的保险箱中一直保存着常玉的两幅小画（1991年  《马背上的马戏团团长先生》即是一个完美 的例子，说明艺术家有能力将这两种截然不 同的文化结合起来，并在其中分别捕捉到强 烈的元素。 通过在小幅画布上对每个主题进行特写描绘， 常玉采用了一个非常个性化的角度。这种亲 密化的视角“迫使”观者的目光集中在所选 择的对象上。没有任何其它元素的干扰，只 有构图的中心是焦点。 去背景化与线性视角相结合，不由的让人联 想到艺术家的中国血统。传统上，亚洲艺术 家们在中国水墨画中并不立体化的描绘人物 和背景，而倾向于横向平面表现。《马背上 的马戏团团长先生》则遵循这种二维空间， 不难让人联想到亚洲绢本卷轴画上传统元素 的布局。 从他在中国接受的传统美术教育中，他保留 了其中自信的姿态——使用绢本或宣纸不允 许对作品进行修改，他的作品笔触坚定而发 自内心。在西方他尝试了创作油画，这是他 在大茅舍艺术学院（Académie de la Grande Chaumière）进修时接触到的西洋美术技法， 其中也包括一些新创作视角的研习。 受到巴黎 "咆哮的二十年代 "繁华特色的极大 影响，常玉采用了一种多彩的色调，将绿色 和蓝色与黑色和棕色相混合。他在这两种文 化中选择了一个令人回味的主题。尽管动物 主题经常出现在常玉的作品中，但马仍然是 他最喜欢的动物主题。马在中国具有很强的 象征意义，在传统绘画中很有代表性，也唤 起了对其父亲——这位专门描绘马和狮子的 画家的追溯。

SANYU (1895-1966)

SANYU (1895-1966) 203 - SANYU (1895-1966)

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