- 539
Chu Teh-Chun (Zhu Dequn)
Estimate
4,800,000 - 6,000,000 HKD
bidding is closed
Description
- Chu Teh-Chun
- Composition No. 297
- oil on canvas
- 64 by 91.5 cm. 25 1/4 by 36 in.
signed in pinyin and Chinese and dated 68; signed in pinyin and Chinese, titled and dated 1968 on the reverse
Provenance
Private European Collection
Condition
The work is overall in very good condition. There are slight abrasions along the edges and scattered light accretions along the surface. There is a tiny scratch next to the top left corner. There is no evidence of restoration under UV light.
"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."
"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."
Catalogue Note
In the 1960s, Chu Teh-Chun began incorporating his profound Asian heritage into his abstract composition. Chu’s brushwork was enriched with the essence of Chinese calligraphy and in combination with his sensitive perception of natural landscape, he developed a unique painterly style which can be exemplified in Composition No. 297.
The painting emanated a sturdy stable atmosphere. The composition was mainly dominated by mountains arranged in triangular groups. While they rose sturdily from the ground, lucid strokes of bright yellow condescended from the troubled sky, their vivid tonality enhanced when juxtaposed with the dark blue firmament. Like flowing golden streams, they poured and gushed down the sides of the mountains, enhancing the horizontality of the composition. Chu’s artistic passion was devoted entirely on the use of ink. Therefore, even in his oil paintings, his application of dusky colours owed much to his familiarity with ink. The vibrancy of other colours, on the other hand, was an integral adapted from the Western artistic style. Through the interlacing and contrast of ink and other substantial colours, a distinctive visual dynamic was created which foreshadowed Chu’s later fascination with the chiaroscuro effect.
In comparison to the frequent use of diluted pigments with linseed oil in the Chu’s later career, the layers of colours in Composition No. 297 were thick and heavy, vigorous and energetic with the sway of Chinese calligraphy. The refined and elongated lines intertwined, heightening the momentum of the painting. The numerous mountain tops were suddenly rendered as little chess pieces, constructed on the canvas to the artist’s pleasing.
The painting emanated a sturdy stable atmosphere. The composition was mainly dominated by mountains arranged in triangular groups. While they rose sturdily from the ground, lucid strokes of bright yellow condescended from the troubled sky, their vivid tonality enhanced when juxtaposed with the dark blue firmament. Like flowing golden streams, they poured and gushed down the sides of the mountains, enhancing the horizontality of the composition. Chu’s artistic passion was devoted entirely on the use of ink. Therefore, even in his oil paintings, his application of dusky colours owed much to his familiarity with ink. The vibrancy of other colours, on the other hand, was an integral adapted from the Western artistic style. Through the interlacing and contrast of ink and other substantial colours, a distinctive visual dynamic was created which foreshadowed Chu’s later fascination with the chiaroscuro effect.
In comparison to the frequent use of diluted pigments with linseed oil in the Chu’s later career, the layers of colours in Composition No. 297 were thick and heavy, vigorous and energetic with the sway of Chinese calligraphy. The refined and elongated lines intertwined, heightening the momentum of the painting. The numerous mountain tops were suddenly rendered as little chess pieces, constructed on the canvas to the artist’s pleasing.