THE ARTIST

ELEGANCE AND EXUBERANCE OF FRENCH ART 優雅豐盈·法蘭西

Text / 陳昱良 Iris Chen Photo / Ravenel International Art Group

「精緻藝術 Fine-arts」作為歐洲貴族精神的載體，二十世紀漸由布 爾喬亞 Bourgeoisie 菁英階級承接。雖然在二次大戰後被抽象藝術重新 洗牌，卻仍有一群出生於「戰間期」並且由「法國美術學院」（École des Beaux-Arts）培育的藝術家，堅守並昇華了「具象美學傳統」，以 自我風格再轉換，延續這種世代積累的創作精神。而「優雅」一詞放在 數位當道的社會，概念略微模糊，卻能輕易透過這群藝術家的作品，彰 顯其意義與價值被新世代所理解。 這群來自法國美術學院的藝術家如：安德烈．布拉吉利 André Brasilier（1929 -）；保羅．賈曼 Paul Guiramand（1926 - 2007）； 賀內．吉尼斯 René Genis（1922 - 2004）；居．巴赫東 Guy Bardone （1927 - 2015）；強．詹森 Jean Jansem（1920 - 2013）；貝爾納．卡 多蘭 Bernard Cathelin（1919 - 2004）等人，他們都師承莫里斯．布里 昂松（Maurice Brianchon）。後者深受後印象與納比畫派影響，出色地 傳承法國傳統，忠於追求生活和諧，並注重將自我的「情感記憶」注入 畫面之中。相同的創作概念，直接傳給了門下學子，因此這些學院的菁 英藝術家早期都擁有極其相似的創作風格。他們維持油彩畫布媒材，題 材多為風景靜物畫，溫和、抒情，並且充滿人文逸趣的感性氛圍。相對 當時蔚為風潮的抽象表現，他們除了實踐理性思考，也維持對傳統尊敬 的態度，在創新激進的改革中取得平衡。

◀ lot 034 安德烈．布拉吉利《榭爾河畔輕騎》 André Brasilier "Cavalcade au bord du Cher" c.1980 oil on canvas 80 x 65 cm 這些藝術家來自法國各地，甚至是成長於海外殖民地，作品中保有 法式優雅的基調，也因不同個性環境，成就不同的畫風。例如布拉吉利 擁有森林裡的莊園馬廄，林間輕騎主題就成為專屬特色；而吉尼斯小時 候成長於越南，因此對樹林、靜物光影立體的細膩筆觸，拔尖於其他同 窗；巴赫東樂於遊歷四方，常以繪畫記錄自然風景，其溫暖性格使筆下 風景，總是透著明亮陽光；賈曼則是喜愛古典音樂，常將樂器、樂譜等 元素融入其中；卡多蘭結合了東方美學的思考，運用留白與簡約造型昇 華傳統具象的概念。 隨著一九六零年代全球戰後經濟和通訊科技崛起，畫廊經營模式 更加開放與商業化，他們代表著歐洲精緻文化，輸出至經濟快速發展的 新興社會，於海外市場取得巨大的成功，尤其受到美國和日本的熱烈歡 迎。藝術家廣受邀請到各地展覽，龐大的國際市場也延伸出，版畫、雕 塑、陶瓷等不同媒材的作品。除了商業畫廊，美術館更是張開手臂歡迎。 布拉吉利 2005 年受館長米凱．皮歐洛斯基（Mikhaïl Piotrovski）邀請， 於俄羅斯冬宮隱士廬博物館舉行大型個人回顧展覽。巴赫東則是在擁有 貴婦城堡美譽的法國雪儂梭（Château de Chenonceau）分別於 1985 與 2005 年舉辦回顧展覽。時至今日，藝術欣賞的價值不斷演變。這群受 布爾喬亞文化教育而成的作品，蘊含高雅含蓄的氣質，或許能為強調閃 曝、衝擊與大量複製的當代藝術收藏，提供不同的觀點與想像。

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Once an embodiment of the aristocratic spirit of Europe, "fine arts" were gradually taken on by the Bourgeoisie in the twentieth century. Although the art community underwent a reshuffling due to abstract art after World War II, a group of Interwar period-born artists from École des Beaux-Arts persisted in and enhanced "figurative art traditions'' by transforming their styles and passing on the legacy of their creative spirit to future generations. The concept of "elegance" may be vaguelydefined in the modern digital age, yet its significance and values are straightforwardly conveyed to young generations through these artists' works.

This group of artists from École des Beaux-Arts includes: André Brasilier (1929-); Paul Guiramand (1926-2007), René Genis (19222004), Guy Bardone (1927-2015), Jean Jansem (1920-2013), and Bernard Cathelin (1919-2004), all of whom had been taught by Maurice Brianchon. Influenced by Impressionism and Les Nabis, Brianchon remarkably interpreted French traditions by faithfully pursuing a life balance and incorporating "emotional memories'' into his paintings. Having directly passed on this creative philosophy to his students, this school of elite artists are characterized by similar creative styles in the early phases of their careers. By using traditional oil canvas as a medium, the artists mostly painted landscape stills in gentle, lyrical ways full of delightful cultural sentiments. In contrast to the popular abstract expressionism at the time, these artists integrated practical reasoning with traditional values to find a balance in the era of an innovative and

far-reaching revolution.

These artists not only came from different parts of France, but some even grew up in overseas colonies. Hence the artists' varying personalities and environments led them to portray French elegance in distinctively unique styles. For example, Brasilier often featured light cavalry in his works because he owned forest manors and stables. Having grown up in Vietnam, Genis portrayed light-shadow variations of forests and stills in more three-dimensional, delicate ways. Bardone liked to travel and paint natural landscapes during his trips, his warm personality instilled a ray of sunshine into his landscape paintings. Guiramand often presented musical elements such as instruments and music scores in his works to express his passion for classical music. Cathelin applied the concept of oriental aesthetics by enhancing traditional figures through empty spaces and simple styles.

In the 1960s, the rise of post-war economy and communication technologies around the world had led art galleries to operate more openly and commercially. The export of Europe's fine culture to the rapidly developing economy and new society achieved enormous success in overseas markets, especially in the US and Japan. The artists were invited to display their works in the vast international market, expanding art media to prints, sculptures, ceramics, etc. In addition to commercial art galleries, the artists were also welcomed by art museums. In 2005, Brasilier was invited by Mikhaïl Piotrovski, the director of Russia's Hermitage Museum, to hold a large solo retrospective exhibition at the museum's Winter Palace. Bardone held retrospective exhibitions at Château de Chenonceau, nicknamed the Ladies' Chateau, in 1985 and 2005 respectively. As the values of art appreciation continue evolving to this modern day, these bourgeoisie artworks contain elegant, implicit temperaments that may provide different perspectives and imaginations for the modern pop-up, impactful, and mass-produced contemporary art collections.

羅芙奧2022秋季拍賣會 「薈萃國際：現代&當代藝術」專場 12/3（六）下午4點

1. Lot 033 安德烈．布拉吉利《秋谷裡的馬群》 André Brasilier "Chevaux dans la Vallée en automne" 2. Lot 041 賀內．吉尼斯《李子與白色花瓶上的傘形花》 René Genis "Prunes et ombelles au pot blanc" 3. Lot 039 安德烈．科達沃茲《海灘盛宴》 André Cottavoz "Chez Nounou" 4. Lot 040 居．巴赫東《瑞士瓦萊的小木屋》 Guy Bardone "Chalet Valaisan - Suisse" 專 場 詳 細 資 訊