Untitled

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Untitled
38.2 x 55 cm
Oil on board laid on panel
1949
Signed
Painting
This work was executed circa 1949
Sale: Sotheby's London Impressionist Modern and Contemporary Paintings Drawings Watercolours and Sculpture 3 July 1975 Lot 363; Acquired directly from the previous by the last owner; Thence by descent to the present owner;; ;; Untitled from circa 1949 offers an important glimpse of Zao Wou-Ki's emerging style in its earliest form as the contrasting influences of Chinese tradition and European avant-garde collided in his work with dramatic results. It is a particularly rare work and has been in the same family collection since 1976. Its subject matter a wide and bucolic landscape may be the stuff of tradition both Chinese and European but its handling is startlingly novel. This is painting pared down almost to its bare bones sparse delicate and beautiful. Forms are portrayed in just a few fragile lines and space presented as a vague coloured mist. The influence of Paul Klee's landscapes is palpable and it is clear Zao Wou-Ki employed the same poetic lens as the Swiss master in his view of the world. Pierre Daix poetically sums up Zao Wou-Ki's technique when describing the landscapes he produced at this time: "Wou-ki rediscovers that reduction so clear in Chinese painting of the narrative aspect of landscape which is generally present to act as a springboard into the infinity of the world" (Pierre Daix Zao Wou-Ki: L'Oeuvre 1935-1993 Neuchatel 1994 pp. 23-26). Although the present painting can clearly be read as a landscape with its houses animals and trees this is an almost hieroglyphic rendering of a scene evidence of Zao Wou-Ki's experimentation with visual language. It harks back to the stylised landscapes of China but as the artist himself was to later explain for it was his arrival in Paris which seems to have reignited the Chinese elements of his practice: a paradox perhaps but one that as we can see the present work was to produce a vision like no other a new way of looking at the world which was to have a profound impact on painting throughout the late Twentieth Century.;; The art of Zao Wou-Ki presents us with an intriguing fusion of disparate societies drawing together two diverse traditions to create one new unique artistic style. Whilst we now take concepts such as globalism and multiculturalism for granted his paintings remind us of a time when such ideas were relatively unknown even revolutionary. A true pioneer both in his life and his art Zao Wou-Ki was undoubtedly one of the figures who helped us to understand the true potential of art by undermining its very foundations. Never afraid of breaking boundaries or challenging norms he was a visionary who has inspired and influenced many of the greatest artists of the modern age. As a result his work is admired and collected around the globe appealing to audiences of varying cultures tastes and backgrounds. Crucially his is an art which is both reassuringly familiar and unexpectedly daring.;; Born in Beijing China in 1921 Zao Wou-Ki's upbringing was one of wealth learning and sophistication. He began training in the art of calligraphy while aged only fourteen and between 1935 and 1941 he studied at the prestigious Chinese Academy of Art in Hangzhou afterwards becoming a teacher at the same institution. It was here that he became aware largely through reproductions in books and magazines of recent avant-garde artistic developments in Europe. Over the years Zao Wou-Ki developed an extensive knowledge of Chinese traditional techniques including landscape painting using ink and brush and learned much about the philosophical approaches inherent in Chinese art. Unusually for a Chinese artist at this date he also began experimenting with canvases producing a series of figurative works which displayed the clear influence of European aesthetics. Inspired by reports of innovation emanating from the West Zao Wou-Ki was ready for new challenges. By 1948 he was on his way to Europe leaving China and heading for a new life in Paris.
2016-06-29
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