{"id":15848,"date":"2014-06-30T16:43:00","date_gmt":"2014-06-30T16:43:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=15848"},"modified":"2023-10-31T16:47:11","modified_gmt":"2023-10-31T16:47:11","slug":"the-pioneers-chinese-modernists-in-paris","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hant\/the-pioneers-chinese-modernists-in-paris\/","title":{"rendered":"The Pioneers\u2014Chinese Modernists in Paris"},"content":{"rendered":"\n<p><strong>\u201cPioneers of Modern Chinese Painting in Paris\u201d<\/strong><\/p>\n\n\n\n<p><a href=\"https:\/\/www.randian-online.com\/np_space\/de-sarthe-gallery-hk\/\"><strong>de Sarthe Gallery<\/strong><\/a>&nbsp;(8\/F Club Lusitano building, 16 Ice House Street, Central, Hong Kong)&nbsp;<strong>May 13-June 13, extended to 28 June 28.<\/strong><\/p>\n\n\n\n<p><strong>Artists:<\/strong>&nbsp;Xu Beihong (1895-1953), Pan Yuliang (1895-1977), Lin Fengmian (1900-1991), Sanyu (1901-1966), Wu Dayu (1903-1988), Yun Gee (1906-1963), Wu Zuoren (1908-1997), Wu Guanzhong (1919-2010), Zao Wou-Ki (1920-2014), Xiong Bingming (1922-2002), T\u2019ang Haywen (1927-1991).<\/p>\n\n\n\n<p>Museum quality historical exhibitions at commercial galleries, equally impressive and surprising, are increasing but remain rare, particularly outside of major Western art centers such as New York and London. There were two fine recent examples in Hong Kong though, a city with largely nascent public institutions and confused civic aspirations (witness the frustratingly ambivalent public support for the new M+ museum). In this environment the role of galleries in presenting and documenting art history can take on special importance.<\/p>\n\n\n\n<figure class=\"wp-block-image\"><a href=\"https:\/\/www.randian-online.com\/wp-content\/uploads\/2014\/06\/de_Sarthe_gallery_Sanyu_Leopard.jpg\"><img decoding=\"async\" src=\"https:\/\/www.randian-online.com\/wp-content\/uploads\/2014\/06\/de_Sarthe_gallery_Sanyu_Leopard.jpg\" alt=\"\" class=\"wp-image-43290\" title=\"Sanyu \" \/><\/a><\/figure>\n\n\n\n<p>\u201cGiacometti: Without End\u201d, a precisely and beautifully presented show of the artist\u2019s drawings and some sculptures at Gagosian Gallery, sadly did finally end. Gagosian pioneered gallery \u201cmuseum\u201d shows and remains the benchmark for them, often outperforming even leading public institutions (witness 2010\u2019s \u201cPICASSO: The Mediterranean Years (1945-1962)\u201d, curated by John Richardson and Bernard Ruiz-Picasso, which outdid Tate Liverpools\u2019s own \u201cPicasso: Peace and Freedom\u201d exhibition). Still on show at de Sarthe Gallery are modernists of a different ilk\u2014leading twentieth-century Chinese artists who spent crucial periods of their careers in Paris, that modernist crucible. The small but concentrated exhibition\u2014only sixteen paintings and one sculpture\u2014spans the Modernist arc from the early 1920s until the mid-1960s, almost in sync with one of the most turbulent periods of China\u2019s long history (a concurrent exhibition on the same theme is on display at Hong Kong Museum of Art, organized in conjunction with the Mus\u00e9e Cernuschi, Asian Arts Museum of Paris and&nbsp;the&nbsp;Mus\u00e9e National des Arts Asiatiques Guimet, \u201c<a href=\"http:\/\/www.lcsd.gov.hk\/ce\/Museum\/Arts\/en_US\/web\/ma\/exhibition.html\"><strong>Paris \u2022 Chinese Painting: Legacy of the 20th Century Chinese Masters<\/strong><\/a>\u201d\u2014until September 21).<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"600\" height=\"740\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-548.png\" alt=\"\" class=\"wp-image-15849\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/jcOCv1xv-image-548-243x300.png 243w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-548-122x150.png 122w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-548.png 600w\" sizes=\"(max-width: 600px) 100vw, 600px\" \/><\/figure>\n\n\n\n<p><a href=\"https:\/\/www.randian-online.com\/wp-content\/uploads\/2014\/06\/de_Sarthe_gallery_Xu_Beihong_Carvoting_Lions.jpg\"><\/a><\/p>\n\n\n\n<p>Xu Beihong \u201cArtist\u2019s self portrait\u201d (recto) \u201cCavorting Lions\u201d (verso) \u81ea\u756b\u50cf\ufe63\u8e8d\u8d77\u7684\u96c4\u7345 (images courtesy de Sarthe Gallery)<\/p>\n\n\n\n<p>Relatively few Chinese artists had the opportunity to live in Paris in the early to mid-century period. War and revolutions led some like Sanyu into exile there, benefitting from their relatively cosmopolitan middle-class backgrounds, in this respect if no other. The works they had earlier produced in China often disappeared, victims of the general tumult, or were destroyed, sometimes by the artists themselves, as protest, to protect themselves from accusations of being reactionary or simply out of desperation, with nowhere to store them amidst the chaos. 17 works is a lot for one exhibition.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"600\" height=\"394\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-549.png\" alt=\"\" class=\"wp-image-15852\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-549-300x197.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-549-150x99.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-549-457x300.png 457w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-549.png 600w\" sizes=\"(max-width: 600px) 100vw, 600px\" \/><\/figure>\n\n\n\n<p><a href=\"https:\/\/www.randian-online.com\/wp-content\/uploads\/2014\/06\/de_Sarthe_gallery_Pan_Yuliang_Nude.jpg\"><\/a><\/p>\n\n\n\n<p>Pan Yuliang \u201cNude\u201d \u5973\u4eba\u9ad4 (image courtesy de Sarthe Gallery)<\/p>\n\n\n\n<p>The strongest is a beguilingly simple painting by Sanyu of a leopard. Works such as his nudes and floral still-lifes owe a huge debt to Matisse but it is often in his depictions of animals, particularly cats and horses, that he affords himself the freedom of greater experimentation. \u201cLeopard\u201d is a landscape of broad monochrome dark-grey brushstrokes with a high horizon line. The cat has been drawn\u2014scratched\u2014into the surface with almost casual freedom. The leopard\u2019s shape is suggestively priapic and the transparent circles on the background lines suggest it can indeed change its spots. Is it alive? Perhaps it is just a ghost, its nine-lives exhausted, another victim on the road. It was painted in 1931. Extraordinary.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"600\" height=\"531\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-550.png\" alt=\"\" class=\"wp-image-15855\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-550-300x266.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-550-150x133.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-550-339x300.png 339w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-550.png 600w\" sizes=\"(max-width: 600px) 100vw, 600px\" \/><\/figure>\n\n\n\n<p><a href=\"https:\/\/www.randian-online.com\/wp-content\/uploads\/2014\/06\/de_Sarthe_Wu_Guanzhong_Gulang_Islet.jpg\"><\/a><\/p>\n\n\n\n<p>Wu Guanzhong \u201cGulang Islet\u201d \u9f13\u6d6a\u5dbc (image courtesy de Sarthe Gallery)<\/p>\n\n\n\n<p>Some works like Xu Beijhong\u2019s \u201cSelf portrait\u201d (1922), Wu Zuoren\u2019s \u201cNude Woman\u201d (1932), Lin Fengmian\u2019s \u201cFish market\u201d (c. 1960s) and even Wu Dayu\u2019s abstract \u201cUntitled No.28\u201d (c.1970s) are important examples of period painting but of less historical import. Yet the verso side of Xu\u2019s portrait, \u201cCavorting Lions\u201d (1922), is as interesting for the abstracted background as its nominal subjects (lions in Xu Beihong\u2019s work may be seen as a symbol of China at the time, whereby Beihong\u2019s work represents the \u201cwaking up\u201d of this lion). Background is also important in the only work by a woman. Pan Yuliang\u2019s \u201cNude\u201d makes one think of the delicacy of Twombly\u2019s more atmospheric surfaces. It is also an incredibly luscious depiction of the woman, an Olympia reclining asleep on a leopard skin, a tea cloth draped over her crotch, the surface texture of background, human skin and leopard fur balanced with the strong ink figure outline.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"600\" height=\"843\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-551.png\" alt=\"\" class=\"wp-image-15858\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/nbgf3hfi-image-551-214x300.png 214w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-551-107x150.png 107w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-551.png 600w\" sizes=\"(max-width: 600px) 100vw, 600px\" \/><\/figure>\n\n\n\n<p><a href=\"https:\/\/www.randian-online.com\/wp-content\/uploads\/2014\/06\/de_Sarthe_Tang_Haywen_Untitled_1965.jpg\"><\/a><\/p>\n\n\n\n<p>T\u2019ang Haywen \u201cUntitled 1965\u2033 \u7121\u984c 1965 (image courtesy de Sarthe Gallery)<\/p>\n\n\n\n<p>Ink works such as Wu Guanzhong\u2019s \u201cGulang Islet\u201d (1977) and \u201cSpring Calling\u201d (c. 1980s) incorporate Western modernist perspectives as additional tools employed with seemingly more traditional Chinese techniques of depiction. This approach was taken further in the highly abstract works of Zou Wou-Ki and Chu Teh-Chun and T\u2019ang Haywen. The exhibition ends with its sole sculpture, Xiong Bingming\u2019s \u201cChinese Earth Buffalo\u201d (1969). Cast in bronze, the buffalo\u2019s front legs have fallen beneath its body, the head raised in a final bellow of agony and protest before imminent execution. Animals have a rough time with Chinese modernists. Only the birds on Sanyu\u2019s power lines seem content to sit and watch.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"600\" height=\"346\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-552.png\" alt=\"\" class=\"wp-image-15861\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-552-300x173.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-552-150x87.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-552-500x288.png 500w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-552.png 600w\" sizes=\"(max-width: 600px) 100vw, 600px\" \/><\/figure>\n\n\n\n<p><a href=\"https:\/\/www.randian-online.com\/wp-content\/uploads\/2014\/06\/de_Sarthe_Xiong_Bingming_Chinese_Earth_Buffalo_2.jpg\"><\/a><\/p>\n\n\n\n<p>Xiong Bingming \u201cChinese Earth Buffalo 2\u2033 \u6c34\u725b 2 (image courtesy de Sarthe Gallery)<\/p>\n\n\n\n<p>An exhibition catalogue accompanies the exhibition with essay by Professor Dr. Zhu Qingsheng, Beijing University, and Wu Ning, Secretary-General, Wu Zuoren International Foundation of Fine Arts<\/p>\n","protected":false},"excerpt":{"rendered":"<p>\u201cPioneers of Modern Chinese Painting in  &hellip; <a href=\"http:\/\/www.randian.art\/zh-hant\/the-pioneers-chinese-modernists-in-paris\/\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":7,"featured_media":15864,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[20],"tags":[95,88,633,9958,98,6680,7451,10854,92,374,10855,10856,10858,10857,10859,10860,6694,10861,6862,10862],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v20.8 - 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