ZHONG CHENG

  • Zhong Cheng 2018 Spring Auction「Morden And Contemporary Art」
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    CHU TEHCHUN (1920-2014 )

    Composition N°295

    1968

    oil on paper mounted on canvas
    65x49.8cm

    SIGNED IN CHINESE AND DATED 68; SIGNED, SIGNED IN CHINESE, TITLED AND DATED 1968 ON THE REVERSE; OIL ON PAPER LAID DOWN ON CANVAS. EXECUTED IN 1968.

    Estimate TWD 3,200,000-4,200,000
    USD 109,000-143,100
    HKD 853,000-1,120,000

    Hammer Price TWD 3,600,000
    USD 121,212
    HKD 957,447

With a certificate of authenticity from artist\"s studio

Provenance：Sotheby’s Paris, 6th-7th December 2016, CONTEMPORARY ART, Lot 177

Illustrated：

Exhibition：

Exposition：

I learned from the experiences of the West, and created an amorphous painting through the cultivation of Tang Dynasty aestheticism; thus, extended the spirituality of Chinese painting. I found myself in abstract art, I enjoy Chinese poetries and western classical music, naturally, they assimilate into my work. Western critics think of my work as poetic abstraction; that is not a coincident” --- Chu Teh Chun

Arriving in Paris, Chu Teh-Chun was deeply inspired by the works of Nicolas de Staël, he decided to follow in his footsteps and abandon all figurative control, in order to achieve the abstract ideal. The little color blocks within the painting are arranged to reflect the rhythm of lights and shadows; this quality later became his signature style and represents an important turning point in his artistic career. Chu Teh-Chun first established his position in the art world in 1960, France, when his artworks were often displayed in the galleries of Paris, due to his work contract, he is able to stay in France to pursue his career as a professional artist. The works created in this period is characterized with a monochromatic background, rendered by light but rapid brushstrokes, the composition is similar to a cloud of smoke, yet it also resembles a rock formation, and even turbulent flowing over isolated ridges. The non-figurative form is an exemplification of lyrical abstraction, it represents the essence of the East and reveals the mysteries and miracles of life. 

“Composition No. 295” was completed in 1968, comparable to a landscape scenery, the momentum of wild wind and misty rain appears above the mysterious rock formation shaped by large brushstrokes. Vivid green and blue shades hid in the dense formation beneath the high mountains, while, the yellow earthy tone raised from the ground compiling dynamic slopes. The heaviness of the black ink re-outline the rock formation in vigorous and rapid speed, combined with the orange hue, the work conveys a sense of mysterious temperament and the ever-changing nature. He overlapped layer upon layer in semblance of order as if they are large, solid piece of stone that make up the foreground. The intense brushstrokes dominate the composition, but also affects shapes within the painting and the rhythm of the composition, spawning an energetic, ever changing but infinite space.  

French critic Jean-Clarence Lambert declared Chu Teh-Chun’s works as “Transcending Landscape paintings.” The ancient verse from “Complete Poetry of Tang Dynasty” and “Complete Poetry of Song Dynasty” became the artist’s main source of inspiration, as a routine he reads the material everyday before creating, his mind flows in the sea of poems until he reached a deeper resonance and became one with his brush. He indulges in the process of painting until he became oblivious of his surroundings. The splashes of paint overflows with emotions contrary to the body and soul that finds tranquility from within the harmonious lyrical poetries. “The contemplation before starting a painting is the most difficult stage, however once my paintbrush touches the canvas, I become passionate and enters a stage of oblivion, it is best to complete in one sitting…. until I decide it is perfect. I rely on my years of painting experiences”

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