Chu Teh-Chun (Zhu Dequn)

Important Private Asian Collection

Shanghai, Shanghai Exhibition Center, ShContemporary 2007, 6-9 September 2007
Paris, Grand Palais, FIAC2008, 23-26 October 2008
Brussels, Galerie J. Bastien Art, 2009

This work is in very good condition. There are very minor wears near the corners. No sign of restoration can be seen under UV examination.
"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."

The Brilliance of a Sparkling Jewel

The Art of Chu Teh-Chun

 

In the late 1950s, Chu Teh-Chun was living in France. His life had already taken many twists and turns, but this did not stop his artistic pursuits or experimentation. After reaching France, besides continuing to paint, he also diligently read about art and visited exhibitions in attempt to greater absorb the essence of western concepts of art. During his early period in France, the work of Chu Teh-Chun remained primarily in a figurative style; however, he quickly became exposed to the influence and appeal of abstract paintings. After 1957 Chu was already painting in a completely abstract style. On the surface level his paintings appear to be influenced by artists such as the Russian-born French painter Nicolas de Staël; however, since childhood Chu had a strong foundation in the study of the Chinese classics, he was accomplished at traditional Chinese painting and calligraphy, and had already began to create a series of work with his very own fusion of Chinese and western art and aesthetics. This involved the use of lines with calligraphic qualities in his work, which were reminiscent the blurring and rhythmic qualities of classical Chinese calligraphy. The ingenuity and liveliness of his linear structures reveal within his work the gentle charms of the Chinese spirit, and the comprehensive implementation of chiaroscuro also parallels the key aesthetic concepts in Chinese art: the rhythmic flow of energy, the expression of vividness, and the intentional leaving of white negative space. Chu Teh-Chun was quickly accepted by the Paris art scene on the strength of the unique qualities of his paintings. While receiving much attention, he was also encouraged to continue developing his own personal style. In the 1960s Chu gained recognition from the international art scene, and was invited to hold numerous exhibitions. At this point his work started to gain the attention of academics, galleries, and collectors. In 1997, Chu was elected as a lifelong academician to , and became the first person from Asia to hold this honour in over two hundred years. In 2001, Chu was awarded the Chevalier de l’Ordre des Palmes Académiques (A Knight of the Order of Academic Palms), and the French President presented him with the medal and title: Chevalier de la Légion d’Honneur (A Knight of the National Order of the Legion of Honour) to highlight his artistic contributions and achievements.

 

Throughout the artistic career of Chu Teh-Chun, there were several undeniably critical events that influenced his style of painting. This includes his discovery and learning of the paintings of Nicolas de Staël in 1957, which further encouraged him towards the development of abstract painting, and the inspiration he gained in 1969 from viewing works of the Dutch Master painter Rembrandt Harmenszoon van Rijn (1606 - 1669) in an exhibition commemorating the third centenary of Rembrandt's death. Rembrandt was especially talented at portraying the interactions of light and shadow, and was known for his mastery of space and atmosphere. He would often place figures against dark backgrounds, and then created contrasts by focusing upon his subjects with bright rays of light. This concentrated light would not only illuminate the subject, and enhance the overall sensations of mystery and drama, it would also add richness and depth to the sections obscured with shadow, and thus create the enthralling and dynamic patterns of light and shade which were representative of his work. The highly talented and sensitive Chu Teh-Chun must have been knowledgeable of this quality present in the work of the Dutch Master, as he further implemented chiaroscuro to create light, shadow, and space, and applied the same principles to his own abstract paintings. In doing so he attained the success of creating paintings which dazzled like sparkling jewels. In the paintings of his mature period, the viewer can often see several highlighted areas which have the visual qualities of radiant spots of light. These highlights often come in varying forms, and are composed of smaller blocks of bright colours, which become the focal points of his work. Fluid and radiant bursts of colour with rich modulating tones surround the peripheries. These transparent textures seem like mists of colour, and like the multi-directional diffusion of a light gas. Occasionally, calligraphic brushstrokes burst from the layers of colours, and for the artist these are the tangible manifestations of the concept that calligraphy is the painting of the mind. The source for this poetic and abundant realm of transformation stems from the surging and unrestrained will of his mind.

 

Chu Teh-Chun never stopped painting throughout the course of his life. He was still painting masterpieces in his old age, and the brilliance and degree of skill present in his work never diminished. This exemplifies his unwavering belief in the pursuit of creation. Chu completed Les brumes du passé in 2004 and Destinée florissante in 2006. These paintings are representative of his later works. Les brumes du passé is dominated by blues and greens, and is shrouded in muted and colder tones. The centrally placed small, bright, blocks of colour primarily take on the hues of warm yellows and oranges - creating interplays of light and shadow, warmth and cold, and contrasting small areas of radiance with vast expanses of density and depth. In this work Chu Teh Chun has implemented a sublime arrangement of colour and structural composition. With an energy of primal creation layers of colour and brushstrokes unfold - it is as if the very bosom of the universe was being laid bare, immersing the visual sense of the viewer in the memory-like clouds of twilight. In Destinée florissante the whole composition is filled with distinctive warm tones. A dense and voluminous area of dark red spreads forth from the upper left like an auspicious aura, and cascade down like a waterfall, picking out the small shimmering, jewel-like blocks of bright colour. From the upper left of the composition, calligraphic lines flow out, and burst onwards with a vigorous water-like momentum. The small blocks of colour in the visual field and at the centre form a spatial contrast with the large area of grouped colours to the left, enhancing the overall liveliness of the piece. This abstract painting undeniably brims with a sense of music and rhythm. It is also worth mentioning that all proceeds from the sale of this piece will be donated to Fudan University for charitable causes, and thus Destinée florissante will bring a long-term significance to the future development and flourishing of education.