LIU KANG | French Village

Private Collection, Singapore

This work is in good overall condition as viewed. There is evidence of light wear and losses along the edges of the work due to abrasions with the frame, but this doesn't affect the overall image. There is some light craquelure on areas of thicker impasto, with a few small spots of associated paint losses, visible upon close inspection. Examination under ultraviolet light reveals no sign of restoration as viewed. 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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

“Works from Liu’s Paris period show the influence of Vincent Van Gogh, Henri Matisse and Paul Gauguin in aspects of the Post-impressionist pictorial interests – expressiveness of brushstrokes, imposing presence of forms, and flattening and merging of planes to construct colour blocks… [His works] also show a thickening of outlines… suggesting an affiliation with the linear brush quality of Chinese ink painting.”^[1] As a pioneer of the Nanyang art style, Liu Kang stands as one of the most revered modern artists in Southeast Asian art history and is ubiquitously known for fusing Western and Eastern art techniques throughout his extensive oeuvre. 

Painted in 1929, Liu Kang’s French Village is a striking and rare early work that hails from his time in France (1928-33), where he studied at the Académie de la Grande Chaumière. It is a testament to an integral period in his life, which set the vital foundation for his later works.

In the present lot, the artist utilizes thick impastos and gestural brushstrokes to conjure a vivid impression of a quaint French village. He stylizes the foliage with wavy lines, creating a sense of motion and vibrancy juxtaposed against the stillness of the houses on the right of the composition.

^[1] Kwok Kian Chow, Channels & Confluences: A History of Singaporean Art, Singapore Art Museum, Singapore, 1996, p. 52