Zao Wou-Ki (Zhao Wuji)

signed in pinyin and Chinese; signed in pinyin, titled and dated 17.6.61 on the reverse

Private European Collection

This work is in good condition overall. There is evidence of slight diagonal craquelure across the surface of the work. 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.

During the 1960s, Zao Wou-Ki reached a decisive juncture in his artistic career as his painting style evolved toward total abstraction. Just as he said, he wanted to paint "what is invisible to the naked eye, to depict the spirit of life." He threw himself into this endeavor, creating a series of powerfully strong "Abstract Landscapes" that reached their maturity in the 1960s. 17.6.61 currently on offer is a fine example of the essence of Zao Wou-Ki's art of the early 1960s.

Although he didn't use many colours in his palette, he laid out similar hues side by side and fused them together, creating manifold, subtle shadings. Against a green background are black lines that seemingly dance around, providing contrast against shades of flake white, as if the canvas itself emits shivers of light. This spirited song of nature appears as if raindrops splash on a pond creating ripples and splashes, or stars forms a celestial constellation. Amidst these broad brushstrokes are voids that are packed with energy. Faint hints of red and yellow symbolize golden clouds that break through along with the setting sun, creating an infinite sense of space. Just as former director of the Museum of Modern Art in Paris and venerable art critic Daniel Marchesseau said, "Zao Wou-ki's paintings are mystical, but they come naturally, enveloped in an unpretentious mystery. Zao questions changes in this world through such philosophical distillation, at the same time elevating his own artistic niveau. He reorganizes and juxtaposes contradictions, subtle differences and contrasting qualities, developing ever-changing imageries that constitute the broader universe. From them, we discover Zao Wou-ki's expressiveness and Baroque charm, through which we also recognize his Romantic spirit."1 In 17.6.61, Zao Wou-Ki looks introspectively at this world with a fine magnifying glass; he also captures unreservedly the multitude of ineffable emotions with his brushstrokes. They move our hearts, let our imagination soar, reverberate in us, and are unforgettable.

[1] Daniel Marchesseau. ed., Art of China, issue 130, Taipei, 1996, p. 49.