Lot 124
  • 124

Chen Yifei

Estimate
4,000,000 - 6,000,000 HKD
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Description

  • Chen Yifei
  • Lady Playing Music
  • oil on canvas
  • 60.4 by 73.2 cm.;  23 3/4 by 28 7/8 in.
signed in Pinyin, executed CIRCA 1990

Provenance

Tokyo, Seibu Department Store, Chen Yifei exhibition
Acquired by the present owner from the above in 1990

Exhibited

Tokyo, Seibu Department Store, Chen Yifei, 1990, p. 29

Condition

This work is in very good condition. There is very fine craquelure across the upper right corner and at the lower right region approximately 25 cm to the bottom, only visible under close examination. There is no evidence of restoration under UV light.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Catalogue Note

Chen Yifei's American period classic - Lady Playing Music
The ultimate pursuit of eternity and perfection 

In the 1980s, Chen Yifei gained the appreciation of Hammer Galleries, and rose quickly in the American art world. He not only became an exception in mainland China, but also reopened the dialogue on contemporary art between China, Europe and the United States. It was a step out into the world for Chinese realism. At that time, Chen Yifei was studying classical realism, and was deeply inspired by the work of nineteenth century Western masters. He took on a delicate style, which was completely different from his earlier more rough works. He produced a series of popular international works on Western themes, including a Western Musicians series and a Venice Scenery series. Before he formally returned to China in 1993; he planned a series of exhibitions in Asia. The Tokyo Seibu department store held solo exhibitions for him in 1989 and 1990, which were well received. He became known as "Gahaku" (which means "great painter" in Japanese). Lady Playing Music (Lot 124), up for sale in this auction, was first exhibited in 1990 at the Seibu department store. It represents Chen Yifei's achievements after ten years in America.

From robust to delicate; the diverse interpretations of a sculptured feel

Although he experienced many changes in his life, Chen Yifei once said that he had always focussed his artistic pursuits on "strength", "a sculptured feel" and "the modern." This change in style came from the subject and intrinsic qualities. The main subject of Chen Yifei's New York works was characters from Western music, very different from the revolutionary and military themes of his early Mainland China works. His New York works had a sense of sculpture and the language of painting. He moved from Soviet-style realism to classic realism. Lady Playing Music can be seen as a classic from this period, both in terms of subject and technique. It is the kind of portrait Chen Yifei excelled in during his period in America. It shows a graceful woman playing the lute.  Chen Yifei painted the beautiful facial features, soft golden hair, the white skin complexion and the texture of the satin dress using extremely delicate brush strokes. There is a high level of coordination between colour and shape, especially in his handling of the lady's forearm. He took advantage of the audience's position in the center to form an isosceles triangle, which firmly supports the painting. It creates a sense of vigour in the lady's playing, and the image appears soft yet firm.

In the colouring process, Chen Yifei used his signature technique known as thick coating polishing. After multiple layers of colours had been added, he polished it. This not only makes the brush strokes difficult to discern, but also makes the outline of the woman softer, hazy and warm. Chen Yifei thought carefully about the relationships between the colours. He paid close attention to the performer's right cheek, shoulder and the shadow behind her shoulder blade. It is not gray or black, but a harmonious dark green, showing her front eye shadow, lip gloss and blusher. In order to emphasize the lady, Chen Yifei deliberately used an abstract and deep background, eliminating excessive narrative and time. This preserves the pure portrait of the performer, and shows her timeless beauty.

Taking on the essence of classicism, expanding the use of lighting

In order to strengthen the sculptured feel, Chen Yifei focused on handling light and called upon his personal experiences of classical European and American masterpieces. He used post-Renaissance chiaroscuro and one-way light projection to emphasise the contrast between light and dark in the front and backlighting. The 16th and 17th century Italian master Caravaggio took this type of light contrast to the extreme. It became known as Caravaggism. He created repetitive works with the same subject, for example his three Lute Player paintings from 1596 to 1600, which tested the influence of different light levels.

In China, Chen Yifei was trained in Soviet-style realism. In his early years he mainly used Impressionist external lighting. During his American period, he started using an indoor, stable and centralized light source, which exaggerated the atmosphere of the scene and the prominent characters. This made it easy to experiment subtly with the painting. In Lady Playing Music there is a side light shining in from the right, which projects onto the side of the performer's face. It is like in a concert, when the curtain slowly opens, and the lights shine in. As the subject is lit up, her inner confidence and grace seem also to shine out. This use of side lighting was very attractive to Chinese realist painters. Also in the 1920s, Jin Shangyi painted Tajik Bride, after he went to Europe and America. Coincidently, the use of light in the painting is similar to that of Lady Playing Music. It is clear that the two masters of realism had similar ideas in establishing Chinese realism.