Wu Guanzhong

signed in Chinese and dated 90
executed in 1990.

Private Asian Collection (Sotheby's, Hong Kong, 2005)
Private Asian Collection

Monograph on Wu Guanzhong, Han Mo Xuan, Hong Kong, 1990, No. 6, p. 141
Wu Guanzhong, Art News Publishing, Tokyo, 1992, plate 41
Fang Di, ed., Wu Guanzhong's Personal Selection of Paintings, The Oriental Press & A & U Publication, Beijing & Hong Kong, 1992, p. 69, illustrated in colour
Wu Guanzhong: A Selection of 128 Fine Works, L'Atelier Productions, Singapore, 1996, plate 72
Wu Guanzhong, Guangxi Fine Arts Publishing House, Guangxi, 1999, p. 180
Wu Guanzhong I, People's Fine Arts Publishing House, Beijing, 2003, plate 61
Wu Guanzhong in Paris, Guangxi Fine Arts Publishing House, Guangxi, 2003, p. 70
The Landscape of Life, Wu Guanzhong's Album in Art III, SDX Joint Publishing, Beijing, 2003, p. 5     
Shui Tianzhong and Wang Hua, ed., The Complete Works of Wu Guanzhong Vol. III,  Hunan Fine Arts Publishing House, Hunan, 2007, p. 274, illustrated in colour
Hong Kong International Art Fair, Art HK 11, Hong Kong, 2011, p. 256, illustrated in colour

This work is in good condition overall. There are minor abrasions along the edges. There is a 3/4 cm tear located along the right edge, 14 cm from the top edge of the painting. There is no evidence of restoration under UV.
"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.
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In Wu Guanzhong's late years, he once talked about his memory of Japan in the book A Hundred Day's Talk on Art: "The most memorable thing about Tokyo is its nightlife. It was spectacular when I went to a high place to see the night view of Tokyo. No shadows were cast and lights were on all night. It is enviable that one can live in the city with such an impressive night view."¹ Completed in 1990, Tokyo at Night could be seen as the artist's memory of the magnificent Tokyo and is also one of the rare night scenery oil paintings Wu has ever created.

In this work, Wu paints like a conductor to shape a cityscape through different overlapping colour blocks and horizontal brushstrokes. With the artist's memory and dreams, the deftly bright coloured blocks and spots shimmer in the dark background. They may be starlight, banner lighting or traffic on a busy street composing the vitality of the city and minutely full of rhythms. Without the dark black background, the movement of the symphony would have not been so perfect. Wu once said: "No matters you are in the East, in the West, in ancient time or in modern time, being proficient in using the colour black in paintings reveal your strong artistic skills. I love black and I am always exploring the possibility of black." In Tokyo at Night, Wu demonstrates his impressive ability to master the use of dark colours.

[1] Wu Guanzhong & Yan Zi, ed., A Hundred Day's Talk on Art, Oriental Press, Beijing, 2009, p. 148