In 1997, Chu Teh-Chun, the renowned French-Chinese abstract artist, was bestowed the prestigious honor of becoming a member of the Académie des Beaux-Arts, part of the esteemed Institut de France. This induction marked a significant milestone as he became the first individual of Chinese descent to receive such recognition in over two centuries. In the same year, the Ministry for Europe and Foreign Affairs of France organized a far East traveling exhibition in his honor. This exhibition showcased his works at esteemed institutions such as the National Art Museum of China in Beijing, the Hong Kong Museum of Art, and the Taipei Fine Arts Museum, garnering critical acclaim across Europe and Asia. Pesanteur vaincue was created during a period when Chu received widespread acclaim and had already dedicated over five decades to his artistic exploration, thus reaching the pinnacle of his career. The present work successfully exemplifies his fusion of poetic expression from traditional Chinese painting with the vibrant colours found in Western painting, thereby forming a unique abstract aesthetic rooted in Eastern traditions.In 1989, Chu relocated to a larger studio in Vitry-sur-Seine, which boasted expansive windows that flooded the space with natural sunlight. This abundant light became his primary source of illumination and inspiration for his artistic pursuits. It was during this time that he began to study the interplay between light and shadow, as well as form and colour. Simultaneously, he embarked on a journey of painting on large canvases, allowing him to freely express his innermost emotions and depict the scenes that unfolded within his mind. This personal endeavor, which he referred to as "a record of my memory" prompted the creation of a series of works that served as vehicles for his emotional expression, with Pesanteur vaincue being one of them. The present work prominently features variations of light and shadow, as well as vivid and dazzling colours, including his favored hues of peacock blue and cyan. Through a masterful blend of Western techniques in handling light and shadow and the incorporation of Chinese philosophy regarding the yin and yang, Chu not only showcased his remarkable command over light and shadow but also demonstrated his adept use of colour.

Despite his prolonged residence in Europe, Chu remained deeply committed to and extensively explored Chinese ink wash painting, particularly the landscape paintings of the Tang and Song dynasties. Consequently, he has been hailed as the "Song dynasty painter of the 20th Century." The abstract qualities inherent in traditional Chinese paintings had been evident as early as the Tang and Song dynasties. It was known for its highly abstract ideographic nature, which emphasized the fusion of poetry, calligraphy, and painting. Chu assimilated the concept of "capturing the essence of calligraphy in painting" from traditional Chinese painting, making lines his primary means of expression. In Pesanteur vaincue, he skillfully outlines a captivating scene with fluid and sinuous brushstrokes that flow swiftly and naturally. The vitality of his brushwork, as eloquently described by the Chinese painter and poet Shi Tao, resembles that of a hero wielding a sword, displaying various movements such as crouching, leaping, galloping, or walking. This dynamic brushwork captures the magnificence and ever-changing splendor of nature, infusing the painting with a sense of vibrant energy. In doing so, Chu fully embodies the emphasis on lines found in Chinese calligraphy within the context of Western abstract representation.

Moreover, the allure of ink gradually became increasingly prominent in Chu’s later works. To accentuate the painting's pulsating movement, he often applied diluted paint to the canvas, giving the originally thick and pure colours an ink-like liquidity. This technique also resulted in the formation of large, light, and smooth colour blocks that resemble ink flowing under the reflection of light. The thin and translucent layers of paint surrounding these substantial colour blocks, influenced by the interplay of light reflection and refraction, create an artistic conception reminiscent of ink rendering, exemplifying the characteristic interplay of "ink and brush" found in Chinese calligraphy. By infusing the concept of freehand brushwork from Chinese painting, Chu achieves an artistic style that presents vivid imagery while perfectly capturing the essence of traditional Chinese painting.

Pesanteur vaincue magnifies Chu's philosophical reflections on life, delineating the vastness of the universe and delving deep into the mysteries of the inner self. Through his freely flowing and emotionally rich abstract paintings, he guides viewers into intangible realms that transcend the passage of time. This masterpiece complements the artist’s triptych Dynamisme vert (1982, 195 x 390 cm) in the collection of the China National Art Museum in Beijing. The skillful visual resonance between these works showcases a level of artistic excellence comparable to that of a national museum treasure.

1997年，華人抽象大師朱德群當選法蘭西藝術學院院士，成為二百年來首位進入該學院的華裔人士。法國外交部更為他舉辦遠東巡迴展，先後在北京中國美術館、香港藝術館、台北市立美術館登場，一路從歐洲到亞洲深獲好評。《穩重》便創作於藝術家備受讚譽的時期，此時的朱德群對於藝術的探索越半世紀之久，已步入了爐火純青的境界，完美地展現了朱德群融合東方中國畫的詩語表達和西方繪畫的濃烈色彩，形成了他獨特的東方風格的新抽象美學。1989年起，朱德群搬到塞納河畔維特里的一間更寬敞的工作室，四窗玲瓏，暖陽盡入其中。朱德群開始研究光與影、形式與色彩的關係，並逐漸在巨幅廣闊的畫布上作畫，盡情揮灑出內心情感，自由奔放地描繪內心風景。這段旅程如同他自己所形容為「我的記憶漫遊」，更促使他創造出一系列抒發內在情感作品，而《穩重》正是其中之一。此作光影變幻張力豐富，更包括朱德群最為鍾愛的孔雀藍色配青綠色，調尤其炫麗精彩，他完美地結合西方的光影技巧和中國的陰陽哲學，展現了他對光影的精湛掌握和對色彩的熟練運用。

儘管長期在歐洲生活，朱德群不斷深入研究中國水墨繪畫，尤其是唐宋山水畫，因此被譽為「二十世紀的宋代畫家」。早在唐宋時期，傳統中國繪畫已經表現出抽象元素的特質，當中更加強調詩、書、畫三者的結合。朱德群汲取傳統中國繪畫中「書法入畫」的理念，因此畫中的「線條」一直是朱德群的主軸。在《穩重》中，他以流暢蜿蜒重疊的筆觸勾勒出迷人的景致，如行雲流水般的舞動。其筆勢猶如石濤所描述的「若英雄起舞，俛仰蹲立，蹁躚排宕」，將大自然的壯闊和萬千奇情盡納筆下，賦予作品生命的流動感。使中國書法注重線條的特長在西方抽象表現中得到了充分的展現。為了突顯畫面的動感，他經常使用稀釋的油彩在畫布上揮灑，使原本濃稠的油彩變得流動起來，形成大面積的色塊，輕盈而柔滑，猶如宣紙上的水墨在光線折射下舞動。薄而半透明的顏料圍繞著濃密的色塊，光線在其中交錯反射，猶如水墨渲染的意境，表現了書法中「有筆有墨」的特色，將中國畫的寫意理念融入其中，營造出意象豐富的藝術風格，完美詮釋了中國傳統繪畫的精髓。

《穩重》凸顯著朱德群的人生哲思，勾勒宇宙萬象，並深掘內心之秘。他透過自由飄逸、情感濃郁的抽象繪畫引領觀者進入無形的境界，超越時光之流。此傑作更與北京中國美術館之朱德群三聯屏《綠色活力》（1982年作，195 x 390 cm）相輔相成，畫面巧妙呼應，足見媲美國家級典藏。