收藏人：亞洲藏家

此幅林風眠油畫‟白蛇傳”是林風眠先生47歲時創作，林風眠先生在法國遊學時深受馬諦斯為代表的野獸派影響，畫風強烈、用色大膽鮮豔，因此此畫中人物的衣飾、背景皆為重色，豐富且飽和。畫中左側許仙戴藍色書生帽，中央為著淡藍色衣裙的白娘子，最右側左手高舉至頭頂、穿藍色衣裙的是小青，白娘子、小青的衣裙以不同層次的藍色、白色構成，三人皆臉型削尖、面容柔美，丹鳳眼微微上翹，表現出東方人含蓄優雅的特性。此幅構圖方面，讓三個人組成一個大圓，三人的姿態都是根據這個圓布置，而小青擺手作勢又成為另一個圓。此幅林風眠以水彩方式創作油畫，先以平塗法畫出色塊再用粗筆勾勒深色邊，最後以水粉(水彩作畫方式)勾勒出小青披展開的裙襬，深色線條力道十足，裙襬的弧線強而有力、充滿彈性，勾勒之筆峰腕力十足、線條細膩，是為中峰之畫法，可見林風眠先生此時處於中、壯年時期，落筆時完全沒有猶豫，充分顯現出他畫油畫的高深功力，許多仿作無法表現出來。此畫畫布的織法是創作大幅油畫時，當時常用的亞麻布，油畫顏料是林風眠先生慣用的調色方式，讓油畫顏料呈現出類似水彩的水粉感，畫布背後局部有年代久遠之黴斑。此幅林風眠先生之落款，觀察其起筆與轉折處，為中、壯年時期之標準落款，「林」字的二豎筆先寫，再寫橫畫，寫「林」字最後一撇時會一起寫「風」字第一撇，簽名筆峰腕力十足，是林風眠先生標準的簽名。此幅是少見的林風眠大型油畫代表作之一。

The oil painting "Legend of the White Snake" by Mr. Lin Fengmian was created when he was 47 years old. During his studies in France, Mr. Lin Fengmian was deeply influenced by the Fauvist movement, represented by artists like Matisse. As a result, this artwork showcases a strong and vibrant style with bold and vivid colors. The clothing of the characters and the background in this painting are both rich and saturated with strong colors. In the painting, on the left side, Xu Xian wears a blue scholar's hat. In the center, Bai Niangzi wears a light blue dress. On the far right, Xiao Qing raises her left hand towards her head while wearing a blue dress. The dresses of Bai Niangzi and Xiao Qing are composed of different shades of blue and white. All three characters have pointed faces, delicate features, and slightly upturned phoenix eyes, capturing the subtle and elegant characteristics of Eastern individuals. In terms of composition, the three figures form a large circle. Their poses are arranged according to this circle, and Xiao Qing's gesturing hand forms another circle within the composition.

To create this work, Lin Fengmian used a watercolor technique to paint an oil painting. He first applied flat strokes to create color blocks and then outlined them with bold brushstrokes in dark colors. Finally, he used gouache (a watercolor technique) to depict the flowing skirt of Xiao Qing, with strong dark lines outlining the curves of the skirt, displaying strength and elasticity. The brushwork is confident, showcasing Lin Fengmian's profound skill in oil painting that many imitations fail to capture. The canvas of this painting was woven in the traditional method commonly used for creating large-scale oil paintings during that time, using linen fabric. Lin Fengmian employed his preferred mixing technique for oil paints, giving them a watercolor-like texture. Behind the canvas, there are signs of age-related mold in some areas. The inscription on this painting by Lin Fengmian, upon close observation of its brushstrokes and transitions, is consistent with his standard style. The vertical strokes of the character "林" (Lin) are written first, followed by the horizontal stroke, and the last stroke of "林" combines with the first stroke of "風" (Feng). The signature exhibits powerful brushstrokes and wrist strength, conforming to Lin Fengmian's customary signature. This painting is one of the rare representative works of Lin Fengmian's large-scale oil paintings.