Wu Guanzhong

signed in Chinese and dated 89; signed in Chinese, titled and dated 89 on the reverse

Private Asian Collection

Tokyo, Seibu Department Store, Wu Guanzhong, September, 1989

Wu Guanzhong, Seibu Department Store, Tokyo, 1989, plate 19, p. 25, illustrated in colour
The Landscape of Life II: Wu Guanzhong Album in Art, Joint Publishing Ltd., Beijing, p. 52 – 53, illustrated in colour
Shui Tianzhong & Wang Hua, ed., The Complete Works of Wu Guanzhong Vol. III, Hunan Fine Arts Publishing House, Changsha, 2007, p. 249, illustrated in colour
Wu Guanzhong, Volume 2, Jiang Xi Fine Arts Publishing House, Nanchang, 2009, p. 342, illustrated in colour

This work is overall in excellent condition. 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."

In 1989, at the invitation of the president of the Tokyo Seibu Department Store, Wu Guanzhong and his wife went to Paris to further develop his artistic skills. Influenced by this European city where he studied forty years ago, Wu embarked on a journey to incorporate new artistic approaches into his townscape painting after returning to China.  As a milestone in Wu’s artistic career, A Monument in the Street Corner is infused with Wu’s prowess in rendering one of the major traditional Chinese painting techniques: "conveying the void", through applying a white impasto in the centre of the canvas with his palette knife. Yet, instead of laying stress on the blank space, Wu boldly and dexterously paints white in various tints, shades and hues to depict the marble monument. This work appears to only feature an ordinary corner of Paris, but if the viewer pays attention to the details, he can still feel a strong and impressive sense of Chinese aesthetics in the compositional arrangement. The curvy and elongated trees on the street resemble Chinese weeping willows, while the tall building in the far background is reminiscent of the artist’s The Potala Palace as well as The Dragon King Pond of Lhasa.