Cheong Soo Pieng

The painting is in good condition overall, as is the canvas, which is clear and taut. There are indications of light wear and handling but the paint layers are well-preserved. Under ultraviolet light examination, restoration is evident, which are mainly located around the margin. Framed.
"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."

Regarded as one of Singapore’s pioneer modern artists, Cheong Soo Pieng is highly respected for his role as one of the “Big Four” in the Nanyang (南洋) art movement. Though schooled in classical Chinese landscape painting and calligraphy, his oeuvre reveals a deliberate experimentation with Western aesthetics and techniques. The painting Twilight is an exceptional piece, for it provides valuable insight into Cheong Soo Pieng’s growth as an artist.

As art historian T.K. Sabapathy explained, in his book Modern Art in Singapore, Pioneers and Premise: "[Cheong Soo Pieng’s] attitude regarding working methods, the response to [his] surroundings, the choice of subject matter, and the selection of particular radiations are some of the shaping factors which provided the Nanyang artists with a distinct identity, and in all these respects, they established the first modern art achievements in Singapore."¹ Coincidently, it was he who coined the term “Nanyang”, together with fellow historian Redza Piyadasa in 1979.

Inspired by the abstract expressionist paintings he saw in Europe, Cheong Soo Pieng sought to cultivate this artistic style in his later works. The present painting conveys this new aesthetic perfectly. Red, a colour that showed up in earlier works, soon became very significant within his abstract paintings. Homage to the evening sun, the horizon is a vibrant explosion of crimsons, mauves and oranges. It is the work’s atmospheric mood and aesthetics that elevate the scene into a visceral study of natural phenomena.

As an artistic movement, the Nanyang style was a combination of Chinese pictorial traditions, paired with the School of Paris, which included Post-Impressionism, Fauvism, and Cubism. As per the group’s ideology, the artwork featured, and was inspired by, the people and cultures of Southeast Asia. Conversely, it was the “Big Four’s” trip to Bali, that established Cheong Soo Pieng’s fascination with the island and it’s environment.

The painting Twilight remains enigmatic in setting. However, in this abstract painting, Cheong Soo Pieng succeeds in incorporating new modes of creative expression, while demonstrating his maturing confidence and skill as an artist. A seminal piece within his collection, Twilight is a lyrical discourse on the relationship of the artist with his psyche and the natural world.

¹Sabapathy, T.K, 1979. “The Nanyang artists some general remarks” Pameran Retropectif Pelukis-Pelukis Nanyang, Malaysia, Kuala Lumpur pp. 43-46.