Lee Man Fong

The work is in good condition overall, as is the canvas, which is clear and taut. There is light wear and handling around the edges of the painting and a relining of the canvas. Examination under ultraviolet light reveals no evidence of restoration. Framed.
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Throughout his career Lee Man Fong dedicated his oeuvre to the local traditions and people of Indonesia, specifically Bali where he was greatly inspired by the island’s thriving landscape and village relationships. As a Chinese artist who chose to live abroad, and document a foreign lifestyle, much of Lee Man Fong’s paintings provide fresh perspective into this world, and are an appreciative look into a culture that was not his own.

The present work Weaver aptly demonstrates the artist’s ability to capture the emotions of his subjects with a compassionate eye, and elevate ordinary rituals to become an aesthetical analysis of rural existence. Much of his oeuvre may be termed as action paintings, for Lee Man Fong’s choice themes and motifs featured individuals, notably women, involved in their daily chores and responsibilities. Created twenty-some years after his arrival to Bali in 1932, Weaver is a revealing look of the artist’s understanding for the local culture and the island’s inhabitants. The woman in the present piece is a classic representation of her profession, for she is shown at the loom, her attention focused on the task at hand.

Lee Man Fong frequently created his oil paintings on Masonite board, for the material enhanced the compositions with a refined texture and certain depth. Many of the artist’s landscapes and wildlife paintings were done on this material, as were his portraits of Balinese female weavers too. Within those works they are celebrated for their beauty and grace. The colour scheme chosen, such as the turquoise blues and pastel greens featured in the women’s sarongs, further established a special tonality within the narratives.

The woman within the present work is similar in action, for she too is concentrating on her craft, oblivious and without care to an audience intent on her actions. Unlike Lee Man Fong’s oil on Masonite works, however, Weaver is painted on canvas. This change in material subsequently transforms the overall mood of the painting. The woman’s yellow top and the white thread stand out amidst the rich reds and browns, creating an atmospheric quality to the portrait that sets it a part from the artist’s other like works of Balinese weavers.

Throughout his oeuvre, Lee Man Fong sought to incorporate the Chinese philosophy of “Breath, Resonance, Life, Motion” (Chi Yun Sheng Tung) within the paintings. The weaver in the self-titled painting is reflective of this principle. Contrary to the other women who were celebrated for their beauty, the woman in the present work is an honest representation of her profession, and is ultimately a testimony of the artist’s great respect for his island home.