Zao Wou-Ki (Zhao Wuji)

signed in pinyin and Chinese; signed in pinyin, titled and dated 53 on the reverse

Private American Collection

Cincinnati, Cincinnati Art Museum, The Prints of Zao Wou-Ki, November 22, 1954 – January 4, 1955

The Prints of Zao Wou-Ki, Cincinnati Art Museum, Cincinnati, 1954, p. 12

This work is in very good condition overall. There is evidence of minor paint losses at the lower right corner of the painting. There is no evidence of restoration under UV.
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This work is accompanied by a certificate of authenticity issued by Archives Zao Wou-Ki.

In the early 1950s, Zao Wou-Ki depicted how he perceived the world through embroidery-like black lines in his art. He painted many still life subjects, architectural structures he saw on his travels as well as landscapes.  Beginning in 1953, Zao entered a new phase in his career and tried to stimulate his art to surpass himself. He once said:

"Still life, flowers and animals have all disappeared. I paint imaginary symbols in a monochrome background. Gradually, symbols are becoming real objects, while backgrounds are becoming spaces." 1

In this way, Composition bistre, noir is one of the most important works during the transitional period for the artist. In the lower-center of the painting, we can see a black Gothic cathedral silhouette flanked by stars and a bright full moon. Here, the artist deliberately leaves the interpretation of other simplified abstract objects on the canvas open to the viewer. They could be elves circling around the moon or the artist's name "Wou" in Chinese character fluttering in the sky. Zao aptly demonstrates the Chinese aesthetics in this work through deploying multiple perspective points seen in Chinese paintings and representing an important concept of Taoism: "Wu Wei" (knowing when to act and when not to act).

By inventing unique and creative symbols, Zao constructs an imaginary world and reflects his idea in nature on the canvas, depicting a dream that emanates power to engage the viewer. In 1954, Zao held a print works exhibition at Cincinnati Art Museum, and Composition bistre, noir was one of the rare oil paintings exhibited in the show, which signifies the importance of this work completed in the transitional stage in his career.

[1] Zao Wou-Ki & Françoise Marquet, ed., Autoportrait, Artist Publishing, Taipei, 2006, p. 108