Yun Gee (Zhu Yuanzhi)

signed in pinyin
executed circa 1933-1936.

Helen Gee Collection, New York
Acquired from the above by the present owner

This work is in good condition. There is evidence of thin hairline craquelure across the surface of the painting and minor paint losses along the four edges. There is no evidence of restoration under UV.
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Yun Gee began his career in New York in 1930. He established his reputation through participating in the ‘Group Exhibition of Paintings, Sculpture and Drawings’ held by Brooklyn Museum, being the only Asian artist invited to exhibit.

The American government launched a subsidy program in supporting artists during the economic depression at the time, of which Yun Gee was able to benefit from, having been recommended personally by the First Lady.

Windmill was immensely influenced by the Parsian style adapted byYun Gee during his stay in France. It was a testimony of the artist’s shift of subject interest from Diamondism and Synchronism to a new focus on cityscapes and pastoral splendour. Yun Gee’s use of palette was saturated with melancholy unprecedented in his previous works, reflecting hardships experienced in life under certain social circumstances. Windmill was seeped with the soothing tranquillity of the countryside while the windmill in the background, typical of tower windmills in Holland, brought into the painting a European breeze. The little boat docked at the shore next to the convoluted pathway added the sense of serenity, liberating one from the hustle and bustle of city life. This painting was believed to be portraying East Hampton, a New York suburb, which had a landmark windmill dated from the nineteenth century not dissimilar to the one depicted in Windmill. East Hampton was well known for its spectacular landscape and scenery which was a reason why many artists had settled there. This work was completed while Yun Gee was travelling around New York.