Femme Pensive

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  • Condition Report

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  • Provenance

    Private Collection, France
    Crédit Municipal de Paris, Paris
    Artcurial, Paris, 5 December 2005, lot 21
    Private Collection, Switzerland
    Acquired from the above by the present owner

  • Literature

    Sylvie and Dominique Buisson, Léonard-Tsuguharu Foujita: Volume 2, Paris, 1987, no. 28.195, p. 273 (illustrated)

  • Catalogue Essay

    Léonard Tsuguharu Foujita was one of the most famous Japanese artists working in the West during the 20th Century, whose hypnotic, iridescent paintings were fêted by Western and Eastern collectors alike and eagerly collected by contemporaries such as Pablo Picasso.

    Landing in Paris on the eve of the First World War, Foujita – who as a boy took French lessons and dreamed of moving to France – threw himself into Montparnasse’s bohemian life, befriending the School of Paris set’s most prominent avant-garde artists of the day including Henri Matisse and Amedeo Modigliani (as well as the aforementioned Picasso), and sleeping only a few hours a night in order to devote all possible waking hours to his art.

    “I was raised in Japan, but my painting grew up in France”, said Foujita of his work (Foujita in M. Guillemot & J. Doherty, trans., Foujita: Paroles d’artiste, Lyon, 2018, p. 42). His hybrid of Eastern and Western subjects and techniques captivated the Parisian imagination, and his first solo exhibition in 1917 sold out instantly. Picasso, one of the first visitors, reportedly left with as many works as he could afford. His dealer, who also represented Modigliani and Chaïm Soutine, asked him to produce two works a day to meet demand. Together with his flair for dramatic appearances, Foujita became so well-known in Paris that ‘Foujita’ mannequins (complete with his trademark bangs, gold hooped earrings and thick, round tortoiseshell eyeglasses) were used to sell clothes in department store windows.

    In 1921, Foujita became involved with Lucie Badoud, a Frenchwoman with skin so enchantingly white that he re-christened her ‘Youki’ – ‘snow’ in Japanese. “I have fallen in love with a lovely, lovely beauty of almost twenty, and she also loves me,” he wrote to a friend (Hiraoka Genpachirō, “Fujita Tsuguharu-shi no tegami”, Kokumin bijutsu, December 1923). Foujita’s next request was that she pose for a large nude painting for him. Thus began the period when Foujita produced some of his most iconic and sensuous works. His models numbered over 3000 – amongst them his lovers, close friends, acquaintances from his favourite hangouts La Rotonde and Le Dôme, and some even plucked from the streets of Montparnasse.

    Femme Pensive, whose subject has never been definitively identified (indeed, Foujita’s nudes were drawn partly from life, and sometimes partly from his imagination), conceivably pays homage to some of Foujita’s most cherished muses. It is both an intimate portrait which shimmers with passion and tenderness, and a frank admiration of the female body, sensuous and milky-white against an undulating, snowy background. Whilst comparisons can be drawn with other portraits (for example, the limpid blue eyes and wavy copper-toned hair of Foujita’s 1927 painting Nu, Youki, and the distinctive nose and almond-shaped eyes of Nu allongé, Madeleine (1931), the silken folds of the backdrop form a halo around the model’s head and body, transforming her into a goddess from another world. Her gaze, neither coy nor passive, rests directly upon the viewer, and the canvas vibrates with unspoken tension.

    Although he thoroughly embraced the artistic freedom of Paris, Foujita repeatedly counseled his fellow Japanese artists to remember their heritage in order to avoid slavish imitation in their art. Indeed, whilst the trend amongst many of his Parisian contemporaries was to pile on bold clashing paints thickly and wildly, Foujita used a very thin Japanese writing brush to create the black sumi ink-like lines of his subjects, and relied on his signature delicate milky white glaze – what he called the grand fond blanc - to breathe life into them. This white, luminous ground seemingly gave his subjects flesh of radiant ivory, and its exact recipe (a blend of flaxseed oil, crushed chalk or white lead, and magnesium silicate – a formula virtually unheard of in the West) was carefully guarded by Foujita. It was a bold and original choice. Despite his uncompromising portraits, which spurned the modest portrayals of women in traditional Japanese art, Foujita never strayed far from his Japanese aesthetic roots, in particular the traditional Japanese concept of ma, or the consciousness of empty space. He sought to capture the essence of his model within a few smooth, supple lines, refining his drawings in several iterations before transferring them to canvas.

    It is this uncompromising and unconventional vision that built Foujita’s enduring reputation and legacy both in the East and the West. 2018, the fiftieth anniversary of his passing, was commemorated with a retrospective at the Musée Maillol in Paris and a travelling exhibition at the Tokyo Metropolitan Art Museum and the National Museum of Modern Art in Kyoto.

  • Catalogue Essay

    藤田嗣治可以說是20世紀在西方發展的日本藝術家中最知名的,其攝人心魂、流光異彩的繪畫作品受到東西方收藏家所追捧,並被畢加索等同時代的藝術家所熱切收藏。
    在幼年起便學習法文並夢想移居法國的藤田,從在一次世界大戰前抵達巴黎開始,就將自己全身心地投入到蒙帕納斯的波希米亞式的生活中,並結交了如亨利·馬蒂斯、阿米地奥·莫迪里阿尼(以及前面提到的畢加索)等當時巴黎畫派最傑出的前衛藝術家們。他每晚僅睡幾個小時,將其時間儘可能地投入到藝術創作中去。

    「我生長於日本,但我的畫成長於法國」,藤田如此描述自己的作品(Foujita in M. Guillemot & J. Doherty, trans.,〈藤田: 藝術家的話語〉, 里昂, 2018, p. 42)。他作品中具有的特殊東方與西方混合的主題和技巧牢牢捕捉了巴黎人的想像力,而他1917年的首次個展便立即一售而空。畢加索,作為展覽的第一位參觀者,據說在離開時傾其所有地購買了多件作品。而同時代理莫迪里阿尼、柴姆·蘇丁與藤田嗣治的經紀人甚至要求他每日要畫兩張作品,以滿足藏家們的購買慾望。憑藉他充滿戲劇性的個人形象,藤田在巴黎聲名鵲起,甚至以他的形象而製作的「藤田」人體模特(配有他的標誌性瀏海、金色環形耳環,以及厚厚的圓形玳瑁眼鏡)都被用來作為巴黎各大百貨櫥窗的服裝陳列。
    1921年,藤田結識了法國女子露西·芭杜(Lucie Badoud),且因其肌膚如冰雪般迷人、潔白而將她喚作「小雪」(Youki)-日語中意為「雪」。「我愛上了一個如此可愛的、年方二十的美人,她也愛我」,他在給友人的信中如是說 (Hiraoka Genpachirō, 〈Fujita Tsuguharu-shi no tegami〉, Kokumin bijutsu, December 1923)。藤田接著讓她成為自己一張大幅裸體像中的模特兒。在這個時期,藤田創作出其最具象徵意義和最性感的作品。他畫過的模特超過3000人-其中包括他的情人、他親近的朋友、在他常光顧的La Rotonde和Le Dôme這兩家餐廳所認識的熟人,以及在蒙帕納斯大街上尋來的陌生人。

    《沉思美人》畫中人物,具體是誰雖然從未明確(事實上,藤田畫的裸體部分來自現實生活,而有時則來自他的想像),但可想而知是在向一些藤田最鍾愛的繆斯們致敬。這既是一幅親密的肖像,閃耀著激情和溫柔,同时,乳白、可觸的肌膚與雪白、起伏的背景相互映襯,也坦言著對女性身體的坦率欣賞。雖然可以與其他肖像畫進行比較(例如藤田1927年的繪畫《裸女小雪》中清澈的藍眼睛和波浪狀的銅色系頭髮,還有《斜倚裸女,瑪德琳》(1931年作)中極具特點的鼻子和杏仁般的眼睛),然而背景中柔軟光滑的褶皺圍繞著模特的頭部和身體形成一個光環,使她仿若來自另一世界的女神。她的目光,既不靦腆也不被動,落在觀者身上,而畫面震懾著未曾言說的張力。

    雖然他熱切地接受巴黎的自由藝術氛圍,藤田仍不斷勸戒其他日本藝術家,不要忘記日本的文化和傳統,以避免創作中盲目的效仿。確實,當許多同時期的巴黎藝術家追捧厚重、狂野、大膽濃烈撞色的潮流時,藤田則用極纖細的日本毛筆,來勾勒他作品中的人物身上如水墨般的線條,並且秉承了他標誌性的乳白色白釉的使用-即為他所稱之的美妙的白色背景-為他們注入生命。這種白色、明亮的背景似乎給他畫筆下的人物創造了如象牙色一般的動人光彩,而其確切的調製方法(亞麻籽油、白堊粉或者白鉛粉,以及矽酸鎂-一種在西方聞所未聞的配方)則被藤田小心守護著。這個選擇既大膽又具有原創性。儘管在肖像畫上毫不妥協,摒棄了日本傳統藝術中對女性的溫和描繪,藤田的創作卻從未遠離日本的美學根源,尤其是日本傳統的「間」概念,或「空」的意境。他試圖用幾筆平滑、柔順的線條去捕捉模特的精髓,在幾番迭代中完善繪畫之後,才將之轉移到畫布之上。

    正是這種不妥協和非傳統的視野造就了藤田在東西方都經久不衰的聲譽,使他的精髓世代相傳。為了紀念藤田嗣治逝世五十週年,在2018年,巴黎的瑪佑爾博物館舉辦他的作品回顧展,而東京的東京都美術館和京都的國立近代美術館均舉辦了他的作品巡迴展。

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11

Femme Pensive

1928
signed and dated 'Tsuguharu [in Kanji] Foujita 1928' lower right
oil on canvas
38 x 45 cm. (14 7/8 x 17 3/4 in.)
Painted in 1928, this work is accompanied by a certificate of authenticity issued by Sylvie Buisson.

Estimate
HK$2,500,000 - 3,500,000 
€285,000-399,000
$321,000-449,000

Place Advance Bid

Contact Specialist
Isaure de Viel Castel
Head of Department, 20th Century & Contemporary Art

20th Century & Contemporary Art Evening Sale

Hong Kong Auction 26 May 2019