- 1039
RICHARD LIN | GWYNFRYN
Estimate
3,500,000 - 5,500,000 HKD
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Description
- Richard Lin
- GWYNFRYN
- oil on canvas
- 127.5 by 127.3 cm; 50 ¼ by 50 ⅛ in.
executed in 1974
Provenance
Christie's, Taipei, 25 October 1998, Lot 68
Jia Art Gallery, Taipei
Important Private Asian Collection
Jia Art Gallery, Taipei
Important Private Asian Collection
Exhibited
Kaohsiung, Kaohsiung Museum of Fine Arts, Homage to the Master - One is Everything: 50 Years of Work by Richard Lin, 15 May - 26 September 2010
Taichung, Asia University Museum of Modern Art, An Era of Abstraction: Chu Teh-Chun, Richard Lin, Liu Kuo-Sung, Hsiao Chin, 18 March - 3 August 2014
Kaohsiung, Kaohsiung Museum of Fine Arts, An Instant is Eternity—2015 Exhibition of Richard Lin: Donations to the Museum Collection, 7 February - 19 April 2015
Taichung, Asia University Museum of Modern Art, An Era of Abstraction: Chu Teh-Chun, Richard Lin, Liu Kuo-Sung, Hsiao Chin, 18 March - 3 August 2014
Kaohsiung, Kaohsiung Museum of Fine Arts, An Instant is Eternity—2015 Exhibition of Richard Lin: Donations to the Museum Collection, 7 February - 19 April 2015
Literature
Chen Hsiu-wei, Nita Lo, ed., Homage to the Master - One is Everything: 50 Years of Work by Richard Lin, Kaohsiung Museum of Fine Arts, Kaohsiung, 2010, p. 194
Condition
The work is overall in very good condition. Upon very close inspection, there are some fine hairline cracks, mostly in the upper half of the canvas. Examination under UV light reveals minor signs of retouching to the four corners, presumably by the artist.
"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
“We are still able to identify a sense of peace that is charming and almost eternal – which, on one hand, allows all living creations to cool down from an emotional steam to a rational realm, and on the other hand, minimizes all motions to complete stillness. To be in action means not to be able to see forms – not seeing the wings if the birds are soaring, not seeing the river if the stream is flowing, not seeing the cloud if it is scudding.” Lomen, Architect of Pure Space - Reading Richard Lin's Painting, 1983
Abstract paintings flourished in the decades after Wassily Kandinsky, beginning a revolutionary period in the history of art in which artists deconstructed imagery by returning to basic elements of drawing, such as dots, lines and planes. Richard Lin embraced this concept, but his style differs from lyrical abstraction, which is characterized by emotionally instrumented colors and shapes, and instead settled on the rather simple, rational geometric abstraction. Lin had already perfected the art of Minimalism before it was coined and recognized, and was a master at applying the idea of this new school of art through many use of pure whites.
The upcoming evening sale showcases the iconic masterpiece GWYNFRYN (Lot 1039) from the artist’s most critically-acclaimed White Series. What makes GWYNFRYN stand out from this series is its unique title, which references a place where Lin had called home for years. Other works typically describe of a date or provide a description of colors, shapes or seasons. Only three paintings from Lin’s oeuvre on the market are titled by location, and GWYNFRYN is the only one of the three that mentions a place of significance to the artist. This autobiographical piece is indeed a valuable work.
Gwynfryn: In Search of a Creative Utopia
In the 1960s, Richard Lin debut successfully in the British art industry on the strength of his acclaimed White Series, garnering him an invitation to participate in Documenta III in Kassel, Germany—the first ever for a Chinese artist. After his debut, renowned Marlborough New London Gallery decided to represent Lin. He once said, “If life were a stage, then I have to perform a brilliant drama around the world.” Just as Lin was starting to gain attention in 1969, he chose to withdraw from the spotlight in London and resigned from his teaching position. He moved to a secluded, rural area in Wales in search of an alternative lifestyle, dedicating himself to developing his oeuvre. “Gwynfryn” mean “white hill” in Welsh, harking back to the artist’s fascination with the color white. After all his journeys, Richard Lin longed not for the excitement of the dynamic and vibrant city life but a peaceful lifestyle away from the bustle. According to literary accounts, Lin started gardening and raising horses in the country, keeping his lifestyle “minimal” and harmonizing with his attitude toward art.
Living overseas in England, Lin avoided the Taiwan White Terror that began in 1949 and managed to stay away from the chaos of political instability. He was able to enjoy complete creative freedom. Unburdened by worldly objects, the white field in GWYNFRYN portrays a boundless sky and vast prairie while the light yellow rectangle in the middle might be the abstract representation of the falling maple leaves. The opaque, warm white hue in the painting reflects the serenity of Lin’s inner being where all return to the intangible. This painting may portray Lin’s personal breakthrough and the thrill of finally realizing the ideal state of mind that he had been searching for half his life. “White is the absence of color but also the sum of colors,” the artists said. Grateful and content with what he had realized and reaped from Gwynfryn, Lin continued his pursuit of sublime with the aesthetic white.
Conscientious: Returning to Eastern Rationality
Richard Lin had developed a rational style of thinking when he was studying architecture, allowing him to fuse geometry and three-dimensional compositions with his works naturally. Such unique representation stems from the Chinese tradition of ruled-line painting. According to “The Thirteen Courses of a Painter” in Chuogeng lu written by Tao Zonyi in Ming dynasty (1386-1644), ruled-line painting is a technique used in architectural drawing and involves tools like brush, ruler, compass and square. Subsequent dynasties favored ink painting over this particular technique, leading to the decline of this artisanal development in Chinese history of art. Lin’s works present excellent and meticulous space rationality with the accuracy and precision often associated with science. He would leave certain white areas blank to avoid overcrowding the composition, allowing viewers more freedom and space in their interpretation, leaving the canvas with greater depth.
The white in Lin’s works might remind viewers of Color-field Painting and Hard-edge Painting that rose in 1950s in America, or even the 20th century Russian art movement Suprematism. Suprematism rejects the idea of objective representation and aims to reach the “zero degree” of painting. Although, Richard Lin abides the “minimal” principle along the similar vein, his contemplative narrative is deeply rooted in Eastern philosophy, especially Zhuangzi’s notion of “emptiness”— offering the traditional Chinese naturalism a “post-modern,” innovative definition. GWYNFRYN’s impeccable texture creates the illusion of emptiness yet portrays infinite possibilities in the Universe. The infiltrating visual invites viewers to dwell in Richard Lin’s purity of white, revealing a sense of peace just as the artist did in GWYNFRYN.
Abstract paintings flourished in the decades after Wassily Kandinsky, beginning a revolutionary period in the history of art in which artists deconstructed imagery by returning to basic elements of drawing, such as dots, lines and planes. Richard Lin embraced this concept, but his style differs from lyrical abstraction, which is characterized by emotionally instrumented colors and shapes, and instead settled on the rather simple, rational geometric abstraction. Lin had already perfected the art of Minimalism before it was coined and recognized, and was a master at applying the idea of this new school of art through many use of pure whites.
The upcoming evening sale showcases the iconic masterpiece GWYNFRYN (Lot 1039) from the artist’s most critically-acclaimed White Series. What makes GWYNFRYN stand out from this series is its unique title, which references a place where Lin had called home for years. Other works typically describe of a date or provide a description of colors, shapes or seasons. Only three paintings from Lin’s oeuvre on the market are titled by location, and GWYNFRYN is the only one of the three that mentions a place of significance to the artist. This autobiographical piece is indeed a valuable work.
Gwynfryn: In Search of a Creative Utopia
In the 1960s, Richard Lin debut successfully in the British art industry on the strength of his acclaimed White Series, garnering him an invitation to participate in Documenta III in Kassel, Germany—the first ever for a Chinese artist. After his debut, renowned Marlborough New London Gallery decided to represent Lin. He once said, “If life were a stage, then I have to perform a brilliant drama around the world.” Just as Lin was starting to gain attention in 1969, he chose to withdraw from the spotlight in London and resigned from his teaching position. He moved to a secluded, rural area in Wales in search of an alternative lifestyle, dedicating himself to developing his oeuvre. “Gwynfryn” mean “white hill” in Welsh, harking back to the artist’s fascination with the color white. After all his journeys, Richard Lin longed not for the excitement of the dynamic and vibrant city life but a peaceful lifestyle away from the bustle. According to literary accounts, Lin started gardening and raising horses in the country, keeping his lifestyle “minimal” and harmonizing with his attitude toward art.
Living overseas in England, Lin avoided the Taiwan White Terror that began in 1949 and managed to stay away from the chaos of political instability. He was able to enjoy complete creative freedom. Unburdened by worldly objects, the white field in GWYNFRYN portrays a boundless sky and vast prairie while the light yellow rectangle in the middle might be the abstract representation of the falling maple leaves. The opaque, warm white hue in the painting reflects the serenity of Lin’s inner being where all return to the intangible. This painting may portray Lin’s personal breakthrough and the thrill of finally realizing the ideal state of mind that he had been searching for half his life. “White is the absence of color but also the sum of colors,” the artists said. Grateful and content with what he had realized and reaped from Gwynfryn, Lin continued his pursuit of sublime with the aesthetic white.
Conscientious: Returning to Eastern Rationality
Richard Lin had developed a rational style of thinking when he was studying architecture, allowing him to fuse geometry and three-dimensional compositions with his works naturally. Such unique representation stems from the Chinese tradition of ruled-line painting. According to “The Thirteen Courses of a Painter” in Chuogeng lu written by Tao Zonyi in Ming dynasty (1386-1644), ruled-line painting is a technique used in architectural drawing and involves tools like brush, ruler, compass and square. Subsequent dynasties favored ink painting over this particular technique, leading to the decline of this artisanal development in Chinese history of art. Lin’s works present excellent and meticulous space rationality with the accuracy and precision often associated with science. He would leave certain white areas blank to avoid overcrowding the composition, allowing viewers more freedom and space in their interpretation, leaving the canvas with greater depth.
The white in Lin’s works might remind viewers of Color-field Painting and Hard-edge Painting that rose in 1950s in America, or even the 20th century Russian art movement Suprematism. Suprematism rejects the idea of objective representation and aims to reach the “zero degree” of painting. Although, Richard Lin abides the “minimal” principle along the similar vein, his contemplative narrative is deeply rooted in Eastern philosophy, especially Zhuangzi’s notion of “emptiness”— offering the traditional Chinese naturalism a “post-modern,” innovative definition. GWYNFRYN’s impeccable texture creates the illusion of emptiness yet portrays infinite possibilities in the Universe. The infiltrating visual invites viewers to dwell in Richard Lin’s purity of white, revealing a sense of peace just as the artist did in GWYNFRYN.