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Lot. 153

CHAO Chung-hsiang (ZHAO Chunxiang)
( 1910-1991 , China/U.S.A )

Title
UNTITLED
Technique
oil on canvas
framed
Sign
signed and dated on the lower right ”Chao 65”, signed and dated on the reverse ”春翔 Chao 1965”, labeled on the reverse ”GALERIE PAUL FACCHETT”
Size
129.7×162.0 cm
Year
1965
Provenance
Galerie Paul Facchett, Paris
Estimation
HKD : 800,000 - 1,300,000
( USD 100,000 - 170,000 )  ( JPY 11,000,000 - 18,000,000 )


Auction Result
BI
Zhao Chunxiang graduated from Hangzhou Academy of Fine Art, where he studied under Lin Fengmian and Pan Tianshou. In 1956, he received a Spanish government scholarship to study in Madrid. After that, he went to New York for further study in 1958. In 1962, five works of Zhao Chunxiang were permanently collected by the Guggenheim Museum of Art in New York, becoming the first collection of contemporary Chinese artist by the Guggenheim Museum. In 1963, Zhao held a solo exhibition and lecture on behalf of the republic of China at the Guggenheim Art Museum and held exhibitions and lectures in many galleries and museums in the United States. He returned to Taiwan in 1980 for solo exhibitions and set up his own studio in 1984.
Zhao concentrated Chinese culture and Western art edification in one, with rational thinking will be different painting language in ink painting. Thirty years of exploration and development of new painting styles. In style, Zhao experienced three stages: representational, abstract and combine the representational and abstract. Before going to New York, it was basically a figurative expression style, which was almost abstract in the early 1960s. After the mid-1960s, it gradually returns to concrete, but local often retains abstract geometric block surface or abstract points, blocks and lines, which is an abstract style between concrete images. Its representational part, no matter people, birds or flowers, most do not have a complete shape, nor light sense of time and depth of space. The traditional brushwork that pays attention to the character of calligraphy and program is not much, but is replaced by more free and frank delineation and splash-ink. These concrete factors and abstract factors or juxtaposition, or superposition, visual contrast is very big, still is not harmonious. But it is this dissonance that makes us different from others.


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