Zao Wou-Ki (Zhao Wuji)

signed in pinyin and Chinese and dated 53 (lower right); signed ZWK, dated II .53, titled and dedicated à Patti (reverse)
Executed in 1953

Private American Collection

There is paint loss at the lower left (approximately 1.5 by 3.5 cm) and the paint is loose in the surrounding area. There is a slight slackening of the canvas and a vertical scratch (approximately 3cm) at the upper centre. There is minor loss to the paint at the upper mid-left, and pinpoint losses at the upper left, lower left and upper right. The overall visual condition of this work is satisfactory. There is no restoration apparent 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."

In his early years in Paris, between 1947 and 1954, Zao painted few portraits. One example is the monochromatic, light colored painting on paper from 1951 entitled The Artist's Wife.  The nude with cropped hair is placed centrally with her arms open like an earth goddess standing in the center of the world.  What is interesting is that the same figure appears once again as the central figure in Zao's Nu et Tapis Jaune in 1953.  This time, however, the woman raises her hands to her ears as if she were listening out for a noise from a faraway place; through her stance and open nakedness the work seems to extend back to a more ancient time, implying an unselfconscious and selfless determination.  The figure's rose-red cheeks and facial expression give her a calm and gentle disposition.  In this work, Zao once again turns to his muse, his wife Xie Jinglan, for inspiration, conveying her own musicality, dance and artistic talent through his art.  The lemon-yellow carpet in this painting displays the artist's meticulous use of tonal variation and depth of colour and brings elements of the sacred and of mystery to the composition.  Zao's handling of the entire composition, his grasp of portraiture and the conveyance of atmosphere were already matured at this stage in his career.  It would be hard to find a more exciting or fine oil portrait by Zao Wou-ki than this one.