- 105
Zao Wou-Ki (Zhao Wuji)
Estimate
8,000,000 - 12,000,000 HKD
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Description
- Zao Wou-Ki (Zhao Wuji)
- 18.08.67
- oil on canvas
signed in Chinese and Pinyin; signed in Pinyin, titled and dated 18. Août.67; Frank Perls, Beverly Hills and Galerie de Montréal labels affixed to the stretcher on the reverse
Provenance
Galeria Diprove, Lisbon
European Bank
Acquired by the present owner from the above
European Bank
Acquired by the present owner from the above
Exhibited
New York, Kootz Gallery
Beverly Hills, Frank Perls, Zao Wou-Ki, 1968, catalogue cover
Lisbon, Galeria Diprove, Zao Wou-Ki, 1974, pl. 3
Beverly Hills, Frank Perls, Zao Wou-Ki, 1968, catalogue cover
Lisbon, Galeria Diprove, Zao Wou-Ki, 1974, pl. 3
Literature
Jean Leymarie, ed., Zao Wou-Ki, Ediciones Polígrafa, Barcelona, 1978, pl. 362, p. 293
Jean Leymarie, ed., Zao Wou-Ki, Hier et Demain, Paris, 1978, pl. 362, p. 293
Jean Leymarie, ed., Zao Wou-ki, Polígrafa, Barcelona, 1979, pl. 362, p. 293
Jean Leymarie, ed., Zao Wou-Ki, Rizzoli International Publications, New York, 1979, pl. 362, p. 293
Jean Leymarie, ed., Zao Wou-Ki, Cercle d'Art, Barcelona, 1986, pl. 394, p. 333
Jean Leymarie, ed., Zao Wou-Ki, Cercle d'Art, Paris, 1986, pl. 394, p. 333
Jean Leymarie, ed., Zao Wou-Ki, Hier et Demain, Paris, 1978, pl. 362, p. 293
Jean Leymarie, ed., Zao Wou-ki, Polígrafa, Barcelona, 1979, pl. 362, p. 293
Jean Leymarie, ed., Zao Wou-Ki, Rizzoli International Publications, New York, 1979, pl. 362, p. 293
Jean Leymarie, ed., Zao Wou-Ki, Cercle d'Art, Barcelona, 1986, pl. 394, p. 333
Jean Leymarie, ed., Zao Wou-Ki, Cercle d'Art, Paris, 1986, pl. 394, p. 333
Condition
This work is in good condition. There is light wear along the bottom edge; one small scratch at the upper left corner; and one minor paint loss on the right edge, 30 cm to the top. One also sees some yellow accretions scattered across the surface, presumably inherent to the artist's working method. 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 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."
Catalogue Note
Zao Wou-Ki's 1960s classic 18.08.67
Rushing waters unrestrained, infinite poetic charm
In the mid-1960s, Zao Wou-Ki reached the pinnacle of fame. He returned to his inner self. He integrated the Chinese and Western aesthetic essence. His abstract paintings allowed him to establish his status in the history of Chinese and Western art. The famous French Chinese literator François Cheng (Cheng Baoyi) said, "Zao Wou-Ki's artistic destiny was not just personal, it was closely related to the development and evolution of thousands of years of Chinese painting. This fundamental fact did not weaken the value of his individual exploration; it made it much more moving. In fact, thanks to his works, the stagnation of Chinese painting for more than a century seemed to have come to an end. A true symbiosis between the Chinese and Western which should have come about a long time before appeared for the first time." This is undoubtedly the highest praise that an artist can receive.
During this period, Zao continued to exhibit in China and abroad. For example, in 1965, he held two large retrospective exhibitions at the Museum Folkwang and the Albertina Graphische Sammlung in Austria. In 1967, he was invited to the large scale Ten Years of Living Art 1955-1965 exhibition, organised by the Maeght Foundation in Saint Paul de Vence in France. His paintings were displayed together with Andy Warhol and Roy Richtenstein who rose during this turbulent period. 18.08.67, which comes from an important private European collection, is now appearing at auction for the first time (Lot 105). It was completed during this free-spirited creative peak period and was exhibited at major galleries such as Kootz Gallery in New York and Frank Perls in Beverly Hills as catalogue cover.
An eastern view of the universe
In this work, Zao reduced the use of colour to a minimum. He used mainly blue, supplemented by white and ink black. He used different shades of the same colour and applied the brush with different intensities. There is no monotony but rich connotations. He painted from the inside outwards. In the centre there are lively, overflowing dramatic lines; with the brushstrokes competing. Away from the centre, the painting becomes more lyrical, achieving a perfect balance between loose and tight, gentle and forceful and diluting and gushing. Thick colours surround the centre in an irregular oval. The bright colours seep in from the outside, breaking a closed boundary. The painting reveals the unique Eastern view of the universe. In the classical period, the West believed that the universe was a closed space ruled by God, but in the eyes of the Chinese people, the natural world which produced all things was not a one-point perspective space, but a world which permeated and expanded outwards infinitely. Just as the French critic Philippe Dagen observed, "In Zao Wou-Ki's 1960s works, space seemed to open out and expand... regardless of the laws of gravity. The laws of perspective were no longer valid. In a world liberated from his usual landmarks, colour penetration and splashes were inexplicable, or at most were uncertain traces of scenery - water, earth or sky. On rare occasions, it seemed to be possible to make out an image." This painting shows all of these traits.
A pulsating heaven and earth
The blue colour is an uproar in a silence. The whole painting is breathing and moving as if it had its own life. Remote and deep, desolate and awe-inspiring. Zao is describing the movement of water in a captivating whirlpool-like painting, reminiscing Fishermen at Sea by British romantic master William Turner. Ma Yuan, one of the four great Southern Song painters, used a long scroll in his work Picture of Water to show 12 different representations of water, including the clouds above the sea, the returning wave of the autumn waters and the counter currents in the Yellow River. There was a whole range of portrayal of water. Several hundred years later, Zao used an abstract form without specific depictions, but it is clear that he has maintained some similarities with the natural heaven and earth. Other than the water, you can see signs of wind; the breathing of the earth and heaven. It is like the infinite poetic charm the Tang dynasty poet Xu Hun described in his Gazing at Evening from the West Tower of Xianyang: "At sunset, clouds gather around the tower. Wind fills it when rains are about to fall." They call upon our imagination and lead us into a different time and space, giving the viewer the enjoyment of a fantasy-like scene. The painting is truly the most representative of his art.
Rushing waters unrestrained, infinite poetic charm
In the mid-1960s, Zao Wou-Ki reached the pinnacle of fame. He returned to his inner self. He integrated the Chinese and Western aesthetic essence. His abstract paintings allowed him to establish his status in the history of Chinese and Western art. The famous French Chinese literator François Cheng (Cheng Baoyi) said, "Zao Wou-Ki's artistic destiny was not just personal, it was closely related to the development and evolution of thousands of years of Chinese painting. This fundamental fact did not weaken the value of his individual exploration; it made it much more moving. In fact, thanks to his works, the stagnation of Chinese painting for more than a century seemed to have come to an end. A true symbiosis between the Chinese and Western which should have come about a long time before appeared for the first time." This is undoubtedly the highest praise that an artist can receive.
During this period, Zao continued to exhibit in China and abroad. For example, in 1965, he held two large retrospective exhibitions at the Museum Folkwang and the Albertina Graphische Sammlung in Austria. In 1967, he was invited to the large scale Ten Years of Living Art 1955-1965 exhibition, organised by the Maeght Foundation in Saint Paul de Vence in France. His paintings were displayed together with Andy Warhol and Roy Richtenstein who rose during this turbulent period. 18.08.67, which comes from an important private European collection, is now appearing at auction for the first time (Lot 105). It was completed during this free-spirited creative peak period and was exhibited at major galleries such as Kootz Gallery in New York and Frank Perls in Beverly Hills as catalogue cover.
An eastern view of the universe
In this work, Zao reduced the use of colour to a minimum. He used mainly blue, supplemented by white and ink black. He used different shades of the same colour and applied the brush with different intensities. There is no monotony but rich connotations. He painted from the inside outwards. In the centre there are lively, overflowing dramatic lines; with the brushstrokes competing. Away from the centre, the painting becomes more lyrical, achieving a perfect balance between loose and tight, gentle and forceful and diluting and gushing. Thick colours surround the centre in an irregular oval. The bright colours seep in from the outside, breaking a closed boundary. The painting reveals the unique Eastern view of the universe. In the classical period, the West believed that the universe was a closed space ruled by God, but in the eyes of the Chinese people, the natural world which produced all things was not a one-point perspective space, but a world which permeated and expanded outwards infinitely. Just as the French critic Philippe Dagen observed, "In Zao Wou-Ki's 1960s works, space seemed to open out and expand... regardless of the laws of gravity. The laws of perspective were no longer valid. In a world liberated from his usual landmarks, colour penetration and splashes were inexplicable, or at most were uncertain traces of scenery - water, earth or sky. On rare occasions, it seemed to be possible to make out an image." This painting shows all of these traits.
A pulsating heaven and earth
The blue colour is an uproar in a silence. The whole painting is breathing and moving as if it had its own life. Remote and deep, desolate and awe-inspiring. Zao is describing the movement of water in a captivating whirlpool-like painting, reminiscing Fishermen at Sea by British romantic master William Turner. Ma Yuan, one of the four great Southern Song painters, used a long scroll in his work Picture of Water to show 12 different representations of water, including the clouds above the sea, the returning wave of the autumn waters and the counter currents in the Yellow River. There was a whole range of portrayal of water. Several hundred years later, Zao used an abstract form without specific depictions, but it is clear that he has maintained some similarities with the natural heaven and earth. Other than the water, you can see signs of wind; the breathing of the earth and heaven. It is like the infinite poetic charm the Tang dynasty poet Xu Hun described in his Gazing at Evening from the West Tower of Xianyang: "At sunset, clouds gather around the tower. Wind fills it when rains are about to fall." They call upon our imagination and lead us into a different time and space, giving the viewer the enjoyment of a fantasy-like scene. The painting is truly the most representative of his art.