SANYU (1895-1966) Femme allongée, bras droit derrière le dos Ink on paper 28 x 45.5 cm - 11 x 17 7/8 in. Michel Habart’s Collection Michel Habart, a writer and collector At the end of the sixties, every day of the week, my father Michel Habart used to walk through his « golden triangle » as he liked to define his unchanging Parisian itinerary. From his home near the garden of the Palais Royal, he would walk to the rue de Richelieu to the Bibliothèque nationale and then stroll to the Hotel Drouot. The Palais Royal garden is his place of reverie where he can sometimes be found « making the statue », surrounded by sparrows that peck at him from everywhere. At the National Library, he works on his translations or on his research, articles, books and poems. Polyglot, he has translated plays by the German Bertolt Brecht and the Irishman Sean O’Casey for Jean Vilar’s Théâtre National Populaire. Fluent in classical and dialectal Arabic as well as Berber, he wrote « Histoire d’un parjure » (History of a Perjurer) in 1960 during the Algerian War, which denounced the violence of the colonial enterprise in 1830.  With an insatiable curiosity, Michel Habart assiduously frequents the Hotel Drouot. He likes to discover these works of art which, according to him, « appear for a moment in broad daylight, only to disappear the next moment ». In this unique museum, he reveals himself as an enlightened art lover with eclectic tastes : acquiring a Malagasy sculpture as well as a rare edition of the Encyclopaedia or a play by a forgotten 19th century author. At that time, it was during one of his morning visits to Drouot that he discovered a suitcase full of drawings by Sanyu. I remember my father’s beaming face when he returned home with his treasure under his arm. Afterwards, he literally became ‘inhabited’ by these drawings. His enthusiasm translated into an endless source of commentary, on the simplicity of the line, the sensuality always in motion that emanated from these women of the twenties and thirties. He drew parallels between Chinese calligraphy and these innumerable nudes, evoking Matisse, Maillol or Henry Moore... Among the drawings were also portraits and other women wearing cloche hats, applied to their sketches that Sanyu had drawn at the Académie de la Grande Chaumière. On the trail of Sanyu Michel Habart tried to find out more about the artist. In the 1970s the Internet and Google did not exist. Neither in the National Library nor on telephone lists did Sanyu’s name appear. He was unknown, even ignored by the art world. Only the gallery owner Jean Claude Riedel knew and admired the painter. He was convinced of the artistic value of his work, spoke of it magnificently, but above all wanted to acquire the drawings. He insisted on numerous occasions, which had the effect of annoying my father, who had no desire to part with them. He liked to share his enthusiasm and took pleasure in showing the drawings to his friends, including the painters Kijno, Guermaz and Ginette Signac (daughter of the impressionist painter Paul Signac). The poet and journalist Henri Kréa suggested that he contact a close friend of Sanyu’s, the potter Robert Dahan. I remember that day in October 1981 when my father received his letter which brought Sanyu back to life : “He was poor...so he always went on foot... or almost” “When we went to his house...he would cook you dishes...I remember stuffed fish...We didn’t dare touch the dish because it was so well presented...We had the impression of violating a painting...” Albert Dahan’s testimony captured the personality of the painter in all its strength, humour and poetry: “His last painting...I dare say it was born of a conversation we had together...The artist’s solitude...It was a tiny elephant...running through an immense desert...He pointed his finger at the animal and said to me: “That’s me! And to laugh...”.  It was in the early eighties that Michel Habart met Antoine Chen, a young Chinese from Taiwan, with whom he became friends and quickly shared the same passion. These two could talk for hours about Sanyu. They tried to fill in the gaps in the painter’s biography, never agreed on the dates, but it always ended in great laughter.... Antoine Chen began to photograph about a hundred drawings. Out of curiosity, he went to the studio where Sanyu had lived and worked at 28 rue de la Sablière. He was lucky enough to meet Sanyu’s neighbour, Hélène Pachkoff, who was also a painter, and her testimony, as well as an album of photographs of the painter that Madame Pachkoff entrusted to Antoine, were extremely valuable for the elaboration of the first book written in Chinese about Sanyu. This book entitled “A Nostalgic Song” was to accompany an exhibition of drawings and watercolours from the Habart collection which took place in Taipei in May 1982 at the Printmaker’s Gallery. Our two accomplices then organised a second exhibition in Paris of works on paper at the Galerie d’Orient, rue des Grands Augustins, in May 1984. The choice of these two places had a symbolic value with regard to the work and life of the artist. On October 13, 1987, a page was turned... Michel Habart, who liked to describe himself as “a wanderer”, passed away quietly in his sleep. I remembered two lines from his poem “Dernière Clownerie” dedicated to Dylan Thomas whom he had met in London in 1943 : “Before you go out, light up, you crazy flames, My garments laden with their false medals.” Today, the painter Sanyu, who found it so difficult to make a living from his art, is recognised throughout the world, particularly in Taiwan and in People’s China. It is as if, a century later, he had returned to the country of his ancestors. Didn’t he say to his painter friend Hélène Pachkoff: “I’m sure I’m Chinese. From which China ? That doesn’t interest me. But in any case, I am Chinese”.  From the early 1920s, Sanyu produced more than 2000 drawings and watercolors. He drew constantly, and was particularly inspired by the women around him, whether they were classmates or models. It was then that he created the works on paper that we are presenting today. They adopt more or less the same format, probably that of a paper tablecloth from one of the Parisian cafés, and they allow us to discover the world of the artistic academies of the Parisian district of Montparnasse. When he arrived in Paris, Sanyu preferred to distinguish himself from his Chinese compatriots and did not enroll in a prestigious art school such as the Ecole des Beaux-Arts de Paris or the Académie Julian. He ventured more willingly into the cafés of the Montparnasse district and attended the less traditional Académie de la Grande Chaumière from 1925 onwards. This Academy, founded in 1902, was in opposition to the academicism of the Ecole des Beaux-Arts. On the contrary, it encouraged its students to freely experiment with subjects and techniques. This unconstrained environment allowed him to learn to sketch from live models and in particular to try his hand at the nude, which was very controversial in his native country. He strolled in the cafes of his neighborhood where he observed the customers and made sketches in a few minutes, sometimes on simple paper doilies. These could be recognized by the edges cut into semi-circles on the 206, 207, 211 lots. From the famous Habart Collection, four of these drawings are of women in clothing. Some are sitting, bent over, one seems to be drawing. They are snapshots of the artist’s immediate, everyday environment. In the middle of an exercise session, he was probably more interested in his fellow female artists than in the model of the day. Another of his sketches, lot 212, represents a female face, sketched in a few lines. His Chinese ink drawings incorporate the heritage of his calligraphy training with his father in the family home in Nanchong. Indeed, his line is modulated by the use of the brush and made alive by the movement of the wrist specific to the practice of calligraphy. The work then shows a great spontaneity that the pencil does not allow as much, not to mention the intensity of the black that ink offers. The latter was very well suited to capture the fluidity of the curves of a naked body, as shown in Lots 205 and 210. Sanyu’s drawings blend his two artistic backgrounds. He uses his traditional Chinese freehand fluid line to express the abstraction and the purification of the Parisian avantgarde of the early 20th century

SANYU (1895-1966) 常玉  纸本水墨 《右手放在身后侧卧的裸女》 哈巴特收藏 "在20世纪60年代末，每一天，我的父亲米歇 尔·哈巴特都走出房门去他心目中的 "金三 角"地带散步，他喜欢把这称为他不变的巴 黎之旅。他从离皇宫花园不远的家里出来， 步行去黎塞留街，然后到国家图书馆，最后 漫步到德鲁奥拍卖厅。"皇宫花园是他可以 遐想的地方，有时人们很惊讶的发现他在那 里像座“雕像"一样静止不动，周围有麻雀 从各处啄他。 在国家图书馆，他从事翻译工作或研究文章、 书籍和诗歌。作为一名多语言者，他为“让· 维拉尔国立人民剧院”翻译了德国人贝托尔 特·布莱希特和爱尔兰人肖恩·奥凯西的戏 剧。他精通古阿拉伯语及阿拉伯方言，以及 柏柏尔语。1960年在阿尔及利亚战争期间他 撰写了《一个伪证的故事》（Histoire d’un parjure），谴责了1830年殖民地公司的暴力。 米歇尔·哈巴特有一颗永不满足的好奇心。 作为德鲁奥拍卖厅的常客，他喜欢在此发掘 艺术收藏品。用他的说法——这些作品 "在 光天化日之下出现片刻，然后在下一秒转瞬 即逝。” 在这个为期一天的“博物馆”里， 他展示了自己作为一个开明的艺术爱好者的 不拘一格的品味：拍下马达加斯加的雕塑以 及罕见的《百科全书》；或是被遗忘的19世 纪作家的剧本。 此时，就在他去德鲁奥拍卖厅的一个上午，他 发现了一个装满常玉画作的手提箱。我父亲 腋下夹着他刚找到的“宝贝”回到家里，我 至今仍记得当时他满面春风的样子。之后， 他的内心似乎被这些画 "占据 "了。他的热情 被转化为对这些画作无尽的评论与赞美：称 赞画作线条简洁，以及这些二三十年代的女 性身上散发出来充满活力的性感魅力。他把 中国书法和这些裸体绘画相提并论，并称这 些作品让人想起马蒂斯、马约尔或亨利·摩 尔......在这些画中，还包括一些肖像画和其他 戴着圆顶帽的女性，这是常玉在“大茅舍学院 （Académie de la Grande Chaumière）” 进 修绘画时所使用的形象。 追随常玉的脚步 米歇尔·哈巴特试图找出更多关于这位艺术 家的信息。在1970年代，互联网和谷歌还不 存在。无论是在国家图书馆还是在电话簿上， 都没有出现常玉的名字。他不为人知，甚至 被艺术界所忽视。只有画廊老板Jean-Claude Riedel知道并欣赏这位画家。 他对常玉作品的艺术价值深信不疑，说得头 头是道，但最重要的是他想购买这些素描作 品。他屡次坚持，这让我父亲十分恼火，因 为他根本不想和这些作品分开。 我父亲喜欢分享他的这份热情，并乐于向他的 朋友们展示这些画，包括画家基诺、盖尔马兹 和吉内特·西尼亚克（印象派画家保罗·西尼 亚克的女儿）。诗人兼记者亨利·克雷亚建 议他与常玉的一位密友——陶艺家罗伯特· 达汉联系。 我记得1981年10月的那一天，父 亲收到了后者的来信，这使得常玉的人生得 以展现在世人面前： «他很穷......所以他总是步行......或者几乎是步 行» ， «当我们去他家的时候......他会给下厨 做菜......我记得他做了肉釀鱼......可是我们根本 不敢碰那道菜，因为它摆盘太精美......我们有 一种破坏一幅画的感觉...... » 阿尔伯特·达汉的回忆捕捉到了画家个性中 全部的力量、幽默和诗意："他的最后一幅油 画......我敢说它起源于我们一次谈话......谈到艺 术家的孤独......那是一头十分微小的小象...... 在巨大的沙漠中奔跑......他用手指着动物， 对我说：‘那就是我！’ 然后哈哈大笑......”  20世纪80年代初，这位作家兼收藏家遇到了安 托万·陈，一位来自台湾的年轻华人，他也 对常玉着迷。对常玉作品共同的热情使得他 们很快成为挚友。这两个人可以聊上几个小 时关于常玉作品的话题。他们试图填补画家 传记中的空白，却从未在日期上达成一致， 但总是在爽朗的笑声中结束谈话。 安托万·陈承诺为大约一百张画拍摄照片。 出于好奇，他去了萨布利埃街28号常玉曾居 住和工作过的工作室。他有幸见到了常玉的 邻居海伦·帕克夫——她也是一位画家。帕 克夫夫人对常玉的回忆以及她托付给安托万 的一本画家的相册非常的珍贵，这使得第一 本用中文撰写的关于常玉的书籍得以出版。 这本名为 《怀旧之歌》的书籍是为了配合 1982年5月在台北版画艺术馆举办的“哈巴特 收藏”的素描和水彩画画展而出版。 这两位好友随后于1984年5月在巴黎奥古斯 丁大街的“东方画廊”举办了第二场常玉纸 本作品展。这两场展览的选址对艺术家的工 作和生活具有象征意义。 1987年10月13日，又一页书被翻过去......米歇 尔·哈巴特，这个喜欢把自己描述为 "游手好 闲"的人，在睡梦中悄悄地离开了。我想起了 他献给于1943年在伦敦结识的迪伦·托马斯的 诗《最后的丑角》中的两句话： "在你逝去之前，点燃吧，你这团疯狂的火 焰，我的衣袍上挂满了他们的假奖章。” 曾几何时，画家常玉依靠艺术难以谋生；而 今他的作品在全世界都得到了广泛的认可。 尤其是在中国大陆和台湾。仿佛在一个世纪 之后，他又回到了他的故土。正如同他对画 家朋友海伦·帕克夫说："我确信我是中国 人。至于究竟来自哪个中国？我对这一点不 感兴趣。反正，我就是中国人。”  从20世纪20年代初开始，常玉创作了2000多 幅素描和水彩画。他不断地作画，特别是受 到他周围的女性的启发，不管是女性同学还 是女模特都给予他许多灵感。在这一时期， 他创作了我们今天所展示的纸本作品。它们 的尺寸大致相同，很可能是巴黎某家咖啡馆 的纸桌布。它们不难让我们感受到彼时巴黎 蒙帕纳斯区的艺术学院氛围。 到了巴黎后，常玉更愿意将自己与中国同胞 区分开来，没有进入巴黎美术学院或朱利安 学院等著名传统艺术院校。相反，他更愿意 进入蒙巴纳斯区的咖啡馆去感受新派的艺术 氛围，并从1925年起在非传统的“大茅舍学 院”（l’Académie de la Grande Chaumière） 进修。这所学院成立于1902年，与传统美术 学院的学术主义分庭抗礼。相反，它鼓励其 学生自由地尝试各种主题和技法。这种无拘 无束的环境使常玉能够从人体模特身上学习 写生，特别是尝试裸体写生，当时这种绘画 方式这在他的故土是非常有争议的。常玉漫 步到附近的咖啡馆，观察里面的客人，并在 几分钟内画出素描，有时在简单的纸桌布上 作画。这些可以通过206、207或211拍品上， 半圆形切割的治本边缘来识别。 这些画中有四幅来自著名的“哈巴特私人收 藏”：描绘了不同的女性。她们中有些人坐 着，有的弯着腰，还有一位似乎在画画。这 些作品是艺术家对眼前日常环境的某个瞬间 的捕捉。也许是在一次课上写生时，常玉对 他的学艺术的同窗比对当天的写生模特更感 兴趣而因创作了这幅作品。他的另一幅素描， 拍品212，表现的是一张女性面庞，用了了几 笔线条即勾勒出来。 他的水墨画融入了他自幼跟随父亲在南充的 家中研习书法的痕迹。事实上，他通过画笔 的使用来调节作品中的线条，并通过手腕的 运转给作品中的人物带来了生命，而这些都 是书法艺术的特点。同时，对于水墨的运用 展现出铅笔无法做到的巨大的自发性，更不 用说水墨所提供的黑色的强度。后者非常适 合用来刻画流畅的裸体曲线，如205和210拍 品所示。 常玉的绘画融合了他的两种艺术背景。他用 传统的中国写意流畅的线条来表达20世纪初 巴黎前卫艺术的抽象与纯粹。

SANYU (1895-1966)

SANYU (1895-1966) ERRATUM - 205 - SANYU (1895-1966) - ESTIMATION 24 000 / 30 000€

0001_dXyTun.jpg

0002_UoCjKH.jpg

0003_ihBJsw.jpg

Standard

Vous cherchez peut-être

Oups

Vente

Titre du document à télécharger

Demandez une estimation gracieuse et confidentielle

Estimation de votre bien

Résultats

Pour activer votre nouvel espace personnel renseignez l'adresse email que vous utilisez pour correspondre avec Aguttes ou sur aguttes.com. Vous recevrez ensuite un e-mail vous permettant de définir votre mot de passe.

Je suis client | Première connexion

J'ai déjà un compte

Je suis un nouveau client

Sélectionnez vos spécialités et plongez dans le marché de l'art

Renseignez vos centres d'intérêt et recevez en exclusivité les actualités de nos départements spécialisés : les lots phares de nos prochaines ventes aux enchères, les e-catalogues en avant-première, les dates des expositions privées et les dernières découvertes de nos spécialistes.