Walasse Ting (1929-2010)
Two Parrots, Two Fans with Three Girls(Painted in 1990s)
Acrylic and Chinese ink on rice paper
179 × 98.6 cm. 70 1/2 × 38 7/8 in.
Stamped with artist's seal on upper left
This work is accompanied by a certificate of authenticity issued by Walasse Ting Estate Archive in New York and signed by the relatives of the artist

Desires and Innocence
The Carefree World of Walasse Ting

Walasse Ting, the self-proclaimed “flower-picker” and “flirtatious gentleman”, led an exciting life, with a bold and avant-garde painting style that reveals his lifelong amorous and romantic nature.

He lived in France, the United States, and the Netherlands. In the early 1950s, he shared his interest in the European COBRA and held exhibitions in Paris and Brussels. He became an important forefront artist of the Pop art movement in 1958 along with Andy Warhol. Walasse Ting held over 100 exhibitions in New York, Paris, Shanghai, Hong Kong, Amsterdam, etc. His works have been collected by the Metropolitan Museum of Art in New York, the Guggenheim Museum, the Hong Kong Museum of Art, and the Shanghai Art Museum, and he is one of the most representative artists of the 20th century. Looking back at the different stages of his life, Walasse Ting expressed his desire for beautiful things in bold and vivid colours, full of emotions and desires, but also innocent, like a chivalrous wanderer. This time, we bring his large-size works on paper Love Me, Love Me (Lot 130) ,Two Parrots, Two Fans with Three Girls (Lot 128) , as well as his rarely seen oil painting I Love Hot Summer (Lot 129) , to enjoy Ting's pleasure and carefreeness.

Hundred Charms in a Glance

In the 1960s, Walasse Ting was inspired by New York to add Western-style fluorescent acrylics to his works. In the early 1970s, he launched his new series Love Me, Love Me. Love Me Love Me presented this time was created in 1973, is one of the artist's large-scale series. The picture is divided into colour blocks to form an abstract background, which replaces the realistic depiction and naturally shapes the sense of space. How the colours are applied inherited the splash and drip of the artist's abstract works, and the artist's yearning for youth is echoed.

In the centre of the painting, a beautiful blonde woman lies, revealing her charm. The colour blocks in her hair reflect the beauty of the woman, while her blue eyes set off her flushed red lips.

The composition of this work drew inspiration from French artist Édouard Manet's masterpiece Olympia. Unlike the restrained and distant woman in that painting, Ting's woman conveys a lively and joyful atmosphere, which is a testament to Ting's artistic inspiration of Pop art in New York.

Blushing as Flowers, Enjoying the Moment

Since the 1990s, Walasse Ting had been holding solo exhibitions in Hong Kong and Shanghai, not only using the traditional Chinese medium of rice paper but also fusing Western acrylics with Chinese ink. After travelling to Japan in the mid-1990s, he was influenced by Ukiyo-e and geisha culture and incorporated the Tang dynasty style that was popular in Japan at that time. The painting Two Parrots, Two Fans with Three Girls was created then. Three oriental women in blue robes are standing in a composition that will impress the viewer with their beauty. The woman on the left has a face of jade and carries a green parrot with a graceful and slightly tilted posture; while the one in the middle holds a peach blossom folding fan and has pink cheeks; the one on the right has purple hair, holds a parrot in one hand, and holds a fan on the middle woman's shoulder with the other hand, not knowing herself is even more delicate than the flowers. Here, the beauty of women and the artist's most beloved materials are fused, creating the gentle world of Ting's painting. The bright colours are stained on the soft rice paper, giving this work a unique blend of East and West.

The Mysterious Masterpiece after Many Deliberations

Since 1985, Ting has been living in Amsterdam, and the masterpiece I Love Hot Summer was created at that time. The painting with splashes of colours creates an overwhelming summer of cherry blossoms. A red-haired woman on the left side has her charming eyes open, giving a glimpse; while a blue-haired woman on the right side reveals her face, and her delicate pink lips echoing the flowers on her head. The two women with their bright makeup show the beauty of youth in the summer, and symbolize the artist's belief in life: “To the fullest extent”.

丁雄泉 (1929-2010)
雙鸚雙扇三美圖(一九九〇年代作)
壓克力彩 水墨 宣紙
179 × 98.6 cm. 70 1/2 × 38 7/8 in.
款識
藝術家鈐印（左上）

附：紐約丁雄泉遺作與文獻管理會開立之藝術家家屬親簽作品證書

七情六慾，天真無邪
丁雄泉的快意江湖

「我一生致力繪畫，只為表現出那如初春般的新事物。」

――丁雄泉

自稱「採花大盜」、「風流先生」的丁雄泉，一生精彩，其畫風大膽、前衞而奔放，在鮮明的色彩、歡快奔放的線條中透露畢生的多情與浪漫。其一生交遊廣闊，自四〇年代起，先後於法國、美國、荷蘭等地生活。1950年代初期，他與歐洲眼鏡蛇畫派志趣相投，在巴黎與布魯塞爾的畫廊共同舉辦畫展。1958年前往紐約發展，時逢抽象表現主義的時代浪潮，與沃荷(Andy Warhol) 等成為「普普藝術」運動的前峰藝術家。作品備受藏家及學術界追捧，如美國克萊斯勒汽車負責人曾在看完其展後一口氣買下十幅丁雄泉畫作。此外，丁雄泉更在1977年獲古根漢基金會獎學金，足見備受認可。丁雄泉生平曾在紐約、巴黎、上海、香港、阿姆斯特丹等地舉辦逾百次展覽，作品曾為紐約大都會博物館美術館（Metropolitan Museum of Art）、古根漢美術館（Guggenheim Museum） 、香港美術館、上海美術館等收藏，是二十世紀負笈海外最具代表性的藝術家之一。而在80年代中期，他移居阿姆斯特丹。回望生命的不同階段，丁雄泉始終以大膽鮮豔的色彩，率性真切地表達對花鳥、青春、女子等美好事物的嚮往，既飽含七情六慾，又天真無邪，若一名吟遊江湖的俠客，不拘一格，來去自如，通過畫筆將芳華擴散、放射到世界的大小角落。是次我們帶來其大尺幅紙上作品《愛我愛我》（拍品編號130）、《雙鸚雙扇三美圖》（拍品編號128），及少見於市的油畫作品《我愛盛夏》（拍品編號129），共賞採花大盜的快意江湖。

回眸一笑百媚生

紐約快速的節奏、未來感，激發丁雄泉於1960年代在創作中大膽加入西式的螢光壓克力彩，自此風格走向鮮豔明亮。其並融入東方水墨如「屋漏痕」的潑灑、滴流，及西方馬諦斯的野獸派斑斕色彩及裝飾風格，形塑出獨樹一格的畫風，使其名震中西。1970年初，他由抽象走向具像，開啟了全新系列「愛我愛我」之作，以美女主題融合自我生活感悟，藉景抒情，是次呈現創作於1973的《愛我愛我》即是藝術家大尺幅系列之作。畫面將現實景物提煉簡化，以湖藍、茵綠、鵝黃、紅紫等色塊分割組構成一抽象背景，以此取代寫實的描繪，透過色彩組成關係，自然形塑出空間感，及帶有自然場域暗示的埸景，見其高妙，而當中飛濺的白、紅、綠、粉色彩，承襲了藝術家抽象創作時期的潑灑、滴流，在意境上猶如春日的細雨，呢喃著藝術家對青春的嚮往。

畫面中央，一金髮妙齡女子趴臥其間，其肌膚勝雪，雙腿筆直，雙臂交叉於胸前，露出「回眸一笑百媚生」的嫵媚神采。其髮間點綴紅、黃、綠、紫的色塊，有如盛開的花簇，映襯女子的俏麗鮮妍，而其藍如碧波般的眼眸，襯托熾豔的紅唇，更顯嬌豔欲滴。

此作在構圖上自法國藝術家馬奈的名作《奧林匹亞》中汲取靈感，而與《奧林匹亞》中神色拘謹而富距離感的女子不同的是，丁雄泉筆下的女子神態自若，笑容燦爛而極具感染力，背朝觀者的身姿，好似玩起「躲貓貓」的遊戲，傳遞出活潑而愉悅的氛圍、流溢生輝的色彩，更印證了丁氏在紐約親炙的普普藝術靈光，惹人欲一親芳菲。

豔若桃李，醉下花前

自1990年代起，丁雄泉開始在香港、上海等地舉辦個展，不僅以中國傳統媒材宣紙上作畫，更將西方瀲豔繽紛的壓克力與中國墨彩融合，風格臻於成熟，注入更多中國的美學概念。而在90年代中期赴日本遊歷後，受浮世繪及藝妓文化的影響，使其美女圖再下一城，他融匯彼時時興於日本的唐朝風雅，展現不同以往的含蓄情韻。《雙鸚雙扇三美圖》即創作於此背景中，偌大的豎式構圖以松石綠彩為底，三位身著藍袍的東方女子裊裊婷婷，頂天立地的構圖，隱去了敘事背景，令觀者為眼前的豐美之姿所撼。女子豔若桃李，各具姿態：左側女子面如青玉，攜一綠鸚鵡，身姿婀娜微傾，眼波流轉，顧盼生輝；而置中者手持桃花折扇，兩頰紅粉緋緋，調風弄月，醉下花前；右者一襲紫髮，一手持鸚鵡，一手擷團扇搭在中間女子的肩頭，其花飾盛錦妝點於髮間，人比花嬌而不自知。女子之嬌美，在此與鸚鵡、鮮花這些藝術家最為鍾情的素材融於一冶，成就丁氏筆下的溫柔之鄉。而明艷的色彩在此浸染軟熟的宣紙，暈透出飽滿的色澤，令此作獨具中西合融的風采。

猶抱琵琶半遮面，千呼萬喚始出來

「我曾覺得我只是一直沒遇到對的女子。在丁雄泉斑斕色彩和率性線條的出動下，我如同透過樹枝偷窺一個裸女一般，突然間，所有那些油畫中看似隱忍的女子們，竟全部偷偷地在為那油彩狂歡！」

――美國藝術家維塞爾曼(Tom Wesselmann)

而自1985年起，丁氏正式定居於阿姆斯特丹，《我愛盛夏》即創作於此時，為其集大成之作。畫面以丁氏早期的抽象構圖為中心，通過紅、黃、粉、綠等交疊的油彩潑灑，製造落櫻繽紛的爛漫盛夏。一紅髮女子自左側「猶抱琵琶半遮面」似地露出嫵媚的雙眼，俾倪盛世；而右側一藍髮女子在象徵盛夏的一片綠茵探出頭，露出玉面，可謂千呼萬喚始出來，嬌嫩的粉唇與頭上的鮮花呼應，別具情韻。二女妝容豔麗，光彩照人，在盛夏的色譜中展現青春的美好，亦象徵藝術家「開到荼靡終不悔」的生命信念。

正如丁雄泉本人曾說：「花卉與女人之美可滌清靈魂、引發憂傷、讓我去愛、從頭來過、鼓勵個性、帶來重生，並啟發我使用色彩。」在其筆下，女子的美好恰似盛開的鮮花，斑斕色彩可洗去那歲月的憂傷和彷徨，帶來重生的希望。而那希望的靈光，正是一個求而不得，心心念念的烏托邦。