• United-Kingdom
Lot 17
10 000 - 15 000 €
Résultats avec frais
Résultat: 15 312 €

Lin FENGMIAN (1900-1991)

Paysage
Encre et couleur sur papier, signée et marquée du cachet de l'artiste en bas à gauche
48 x 67,5 cm à vue - 18.9 x 26.5 in.
Un certificat d'authenticité de Mr Markowitz, petit-fils de l'artiste, sera remis à l'acquéreur.
Provenance: collection privée, France

Ink and colour on paper, signed and marked with the artist's stamp lower left
Provenance: private collection, France

«I've been drawing from Western art, especially Cubism, trying to express these characters as figures in time and space»
At the age of twenty Lin Fengmian left China to study at l'Ecole des Beaux-Arts in Paris. On his return to China, he was inspired by his Parisian experience to reform the teaching of arts by promoting both oil painting, drawing and traditional techniques. In doing so, the painter brought forth a new form of modernity and influenced a whole generation of artists. One of his most notable students in Hangzhou was Chu Teh-Chun. Fengmian's art created a bridge between Asia and Europe by combining Western pictorial language with conventional Chinese painting. The tragic destruction of much of his work during the Sino-Japanese War and the Cultural Revolution - during which he was imprisoned for four years - has increased the rarity of his paintings. His writings reflect his desire to merge cultural traditions and to reach a synthesis of all the arts.
Upon his arrival in Shanghai in 1951, Lin Fengmian became fascinated with Chinese opera, which inspired him a series of paintings. He painted The female warrior of the
Yang family in 1960. The figures come from an opera about the war between the
Northern Song Dynasty and the Western Xia kingdom. At the death of General
Yang Zongbao, the last man of his clan, the enemies are at the gates of China. His wife Mu Guiying and the Yang women take command of the troops and defeat the
Western Xia. Chinese opera was undergoing a reconstruction back then. Unlike the new operas divided into scenes Lin Fengmian explains: «In the old plays, there is a better resolution of the conflicts between time and space, like in Picasso, when he handles objects by folding them into a flat space. I use a method where, after
I've watched one of the old operas, I take characters from different parts of the story and fold them into the space on the canvas.” Inspired by Cubism, the painter represents the multiple interactions between actors and the continuity of plot development.
Costumes and gestures are reinterpreted into geometric shapes painted in complementary colors creating a strong dramatic tension between the warrior and his enemy. From the simple shapes and the sharp colors emerges an expressive force similarly found in the works of Matisse and Rouault. Lin Fengmian portrays this highly codified traditional art on an unconventional square format. The canvas reflects the theatrical codes of opera, which require a minimal decor in order to focus the attention on the movement of the actors, who master martial arts. The female warrior of the Yang family is a perfectly balanced and dynamic painting that offers an insight into the grandeur of Chinese culture.
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