Ding Yanyong

signed Y.Y. Ting and dated 1510.65 (lower right); signed Y.Y. Ting and dated 9/3.67 (reverse)
Executed in 1965; executed in 1967 (reverse)

Private Asian Collection (Sold: Sotheby's, Hong Kong, 2004)

Taipei, National Museum of History, Aesthetic Images of Ding Yanyong's Paintings, August - September, 2003

Aesthetic Images of Ding Yanyong's Paintings, Taipei, 2003, National Museum of History, pl. A84 & A89

There are pinholes at each corner of the work (made by the artist). There are spots of mould across the surface of the front of the work which are dark brown in colour. There are chips to the paint at the mid-left, lower left and upper left and bottom edge of the reverse of this work. There is frame marking at the lower right. Overall, this work is in moderate condition.
"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."

"Beginning in 1965, Ding executed a number of portrait paintings... his portraits of this later period are stylized to the point of being close to caricatures and like his one-line paintings, Ding strives to unveil the essence of his subjects, toying with their likeness with diminished regard for verisimilitude. Fauvist influence is apparent in the economy of form and bold, unconventional colors. The contrasts between the mottled and vibrant background, characterized by sweeping brush strokes, and the figures with their vivd features are so strong that... Ding needed dark contours to subdue them. As with all of Ding's art, whether oils or shuimo, he held a certain disregard or indifference for correct drawing, capturing, instead, the spirit or essence of the subjects."[1]
Rita Wong

[1] Rita Wong, "Dialogues Across Time: The Oil Paintings of Ding Yanyong", pp. 50-59. In Aesthetic Images of Ding Yanyong's Paintings, National Palace Museum, Taipei, 2003, p. 58