Wang Jinsong

signed in Chinese and dated 1994.6,; initialled in English on the reverse, framed

Hanart TZ Gallery, Hong Kong
Acquired by the present owner from the above

This work is generally in good condition. There are hairline craquelures on the male figures' black trousers, most noticeably on the central figure. Having examined the work under ultraviolet light, there appears to be some restorative work on the white-faced figure's face, as well as near the right-most female figure on the right, all of which is not noticeable under natural 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."

Wang Jinsong graduated from the China Academy of Art having specialised in Chinese traditional painting. From the nineties onwards, Wang chose oil painting as his main artistic medium; and along with artists such as Fang Lijun and Liu Wei, became one of the most important members of the Cynical Realist group. Wang’s works successfully capture the zeitgeist of contemporary Chinese society, this serving as an important symbol within his oeuvre. Painted in 1992, Taking a Picture in front of Tiananmen Square is an early example of Wang’s oil rendered works. The painting features Tiananmen Square in its background, in front of which stands a group of tourists. The transformation of Tiananmen Square from a historical symbol to a bustling touristic site denigrates and satirises its potency as a political symbol. Through downplaying its historical importance, Wang has vividly captured the sullenness of China’s artistic circle in the early nineties, reflecting the artists’ loss of confidence in the idealism from the previous decade. The work exudes a certain realist flair: having left some figures in the back rows in white, Wang has purposely allowed the work to appear unfinished. In addition to this, the strokes with which the piece is rendered is highly reminiscent of traditional Chinese painterly methods, which can still be seen in Wang’s later important One Child Family series. This style remains vital to the artist’s works to this day. In the mid-nineties Wang turned his attention from oil painting to photography and videography. This shift can be seen in his later works, including the large-scale photography work One Child Family, which features two hundred photographs, and also his photographic works on the demolition of the city of Beijing, which bring societal concerns to the forefront of his creative works.