Ten years later, Zao Wou-ki’s No. 20 (30.11.74) (1974, Lot 39) is a stormy, autumnal composition in which a range of splashed and brushed browns battle insurgencies of whites. The tumultuous gravitas of 1974 is balanced by highlights of acid greens played against a spectrum of mauves that rises to the work’s surface from the depths of the browns. Wash-like, semi-transparent grays descend from the top of the painting as a frothy wave of whites rises towards the vortex of the composition. The painting’s tonal range, composition, and inner luminosity bring to mind the dramatic, rough seascapes of J.M.W. Turner, whose works of this kind tended towards abstraction but never broke free of their representational confines. 1974 by contrast is pure abstraction and a stylistic resume of Zao’s work of this period, in which expressive, dark colors and a heavier brush reign before a stylistic turn to lighter, more overtly colorful compositions in the latter half of the decade.