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Heroines of the Yangs-Mu Guiying's Taking Command and Seated Lady by Lin Fengmian belong to a Norwegian shipping company executive. In 1945 he was assigned to work at the Hong Kong branch and occasionally went to Shanghai in the 1950s to 1960s. Through a doctor friend from Hong Kong, he met Lin Fengmian and visited his studio in Shanghai, purchasing several works by the artist.
The colour and composition of Lin Fengmian's paintings are heavily reminiscent of Western oil paintings, yet through careful study of subject matter and brushwork one can easily recognize the deep-seated Chinese touch which the artist inserts in all his works.
Lin Fengmian's interest in Chinese Opera began in the early 1950s. The artist was captivated by the dynamic poses struck by Chinese Opera dancers, which reminded him of French Cubism. In Heroines of the Yangs-Mu Guiying's Taking Command, Lin depicts the steps and movements of the characters with invisible lines using geometric forms, their masks well-researched for its accurate reflection of specific operas delineated in vibrant colours.
Lin Fengmian's inspiration for drawing ladies comes from Chinese ceramics and the famous ceramics of the Tang and Song dynasty. Song dynasty ceramics are well-known for their almost-translucent thinness and delicate curves, and Lin borrowed the same imagery to create fragile, elegant women similar to that of a precious 'white jade' ceramic piece that is inviting and irresistable. In Seated Lady, Lin cleverly presents these Chinese themes and contexts in a Western manner - with an understanding of both Eastern and European culture, Lin appealed to the tastes of European visitors in Shanghai and Hong Kong, who brought his pieces back to Europe with them and remained in their collections until now.
LIN FENGMIAN (1900-1991)
Heroines of the Yangs-Mu Guiying Taking Command
細節
林風眠 楊門女將 — 穆桂英掛帥 設色紙本 鏡框
款識：林風眠。
鈐印：林風暝印
挪威私人收藏
《仕女》和《楊門女將 — 穆桂英掛帥》原藏家，來自 北歐挪威，任職輪船公司行政人員，1945年調派到香港分公司工作，50至60年代期間偶爾出差上海，透過香港的醫生朋友，認識了林風眠，得以參觀其畫室，並購入數幅林風眠佳作。
看林風眠畫的最初印象，是色彩和構圖都屬於西方油畫形式，其實細心剖析主題、內容、線條，都取材自中國原素。
50年代初，林風眠開始對京劇、平劇等地方戲曲發生興趣，中國戲曲舞蹈的動感姿勢，令他聯想到源自法國的立體主義，角色的造手台步，畫出無形的線條，演變為幾何的畫面結構。而研究主角面譜，可借以描寫刻劃人物性格，贈加舞台感。熱熱鬧鬧、大起大跌的，就是中國人一向的生活方式。
林風眠畫仕女的靈感，來自中國的陶瓷藝術，唐宋的陶瓷，尤其宋瓷，有透明感，線條柔美，中國仕女盤坐着的姿態，就如白玉瓷一樣，令人不禁觀賞再三，細意感受。
這都是中國式的內容與背景，以西方形式表現出來。聰明的藝術家，了解歐洲文化，明白東方情調，最能吸引在當時居於上海及香港喜愛藝術的歐洲過客。而他們是真心喜愛林風眠的作品，帶回歐洲家鄉，陪伴終老。其後人割愛，才得見這些多姿多釆的作品。
款識：林風眠。
鈐印：林風暝印
挪威私人收藏
《仕女》和《楊門女將 — 穆桂英掛帥》原藏家，來自 北歐挪威，任職輪船公司行政人員，1945年調派到香港分公司工作，50至60年代期間偶爾出差上海，透過香港的醫生朋友，認識了林風眠，得以參觀其畫室，並購入數幅林風眠佳作。
看林風眠畫的最初印象，是色彩和構圖都屬於西方油畫形式，其實細心剖析主題、內容、線條，都取材自中國原素。
50年代初，林風眠開始對京劇、平劇等地方戲曲發生興趣，中國戲曲舞蹈的動感姿勢，令他聯想到源自法國的立體主義，角色的造手台步，畫出無形的線條，演變為幾何的畫面結構。而研究主角面譜，可借以描寫刻劃人物性格，贈加舞台感。熱熱鬧鬧、大起大跌的，就是中國人一向的生活方式。
林風眠畫仕女的靈感，來自中國的陶瓷藝術，唐宋的陶瓷，尤其宋瓷，有透明感，線條柔美，中國仕女盤坐着的姿態，就如白玉瓷一樣，令人不禁觀賞再三，細意感受。
這都是中國式的內容與背景，以西方形式表現出來。聰明的藝術家，了解歐洲文化，明白東方情調，最能吸引在當時居於上海及香港喜愛藝術的歐洲過客。而他們是真心喜愛林風眠的作品，帶回歐洲家鄉，陪伴終老。其後人割愛，才得見這些多姿多釆的作品。
來源
PROPERTY OF A NORWEGIAN GENTLEMAN