陳文希

私人收藏，新加坡

The work is in good condition overall, as is the board, which is free from warping and cracks. There is evidence of light wear and handling around the edges of the painting, along with associated minor paint losses located on the top and left borders. Examination under ultraviolet light shows gentle touch-ups sprinkled predominantly on the top border, bottom section and on the wooden pillars. However, this is not visible with the naked eyes. Framed.
"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."

“Whereas the Chinese painter works from the centre to the edge of the paper, Chen worked the opposite way – from the outer edge inward, looking for the whole image rather than a narrowly – focused part, following the rhythm inherent in the painting.” 

Chen Wen Hsi is one of the most unique artists from the Nanyang period, different to other Nanyang artists; his paintings focus more on the exploration of freedom than on Balinese culture. In 1948, Chen settled in Singapore and proceeded to teach art at The Chinese High School and the Nayang Academy of Fine Arts. His brushstrokes do not only dig into the core of traditional Chinese ink, but also explore the mystery of Western oil painting. He shows his fascination in Western art through experimenting with a variety of styles ranging from Fauvism and Cubism. By capturing the scene from the outer edge, Chen exploits the technical freedom of cubism within the painting.

The work The Boat Dock is in many ways a revelation of the artist’s ideas and visions. The cubist style is a representation of Western influence in Chen Wen Hsi’s career. He composed the painting with simple basic colours, blue, yellow and red, and coupled with three supplementary colours – orange, purple and brown. The brightness of the colours does not only reflect the tropical climate that he lives in, but also enhances the simplicity and the purity of the world. The Cubist style does not only encourages us to view the world in a different angle, but also allows us to experience the freedom of Cubism, and more importantly to encounter the unlimited imagination and creativity of Chen’s soul. The lines are constructed in boundless ways, straight or slanting, continuous or broken, central or symmetrical; the immense amount of combination further enforces the rhythmic vitality of the painting. The figure is painted in earth tone that stands next to the vertical beam; the parallel relationship is of the little regularity in the painting, which reinforces the dynamic and vibrant movement of ideas in the world of art. Similarly to other objects, the ladder also stands firmly and extends upwards towards the skyline and this has successfully created a powerful sense of freedom, thus reaches the climax of the scene. Finally, the continuous flow of water and the directional movement of the boats celebrate the cyclical and the celebrative nature of life, a fruitful and a grateful image is thus generated across the canvas.

¹Bonnie Tinsley., Chen, A Rebel at 70”, The Straits Times, Singapore, November 10^th 1982, P.14