LIU KANG | Islands and Houses on the China Coast

Acquired directly from the artist
Private Collection, Singapore 

This work is in good overall condition as viewed. Upon very close inspection, some hairline craquelure is visible at the paint surface, but this is stable and consistent with the age of the work. Examination under ultraviolet light reveals very tiny spots of retouching on the center of the horizon line and few very tiny spots at the leaves in the bottom right quadrant. Framed.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

One of the most storied, iconic artists to emerge from Singapore and the Southeast Asian region, Liu Kang was recognized for his mastery of Western artistic idioms, which he used to represent and reimagine scenes in China and Southeast Asia that moved him. This harmony of Western technique and Eastern subject matter laid the foundation for the later development of the Nanyang style, as he pioneered a whole new visual expression. Painted in 1936, Islands and houses on the China Coast is an early work that stands as an evocative example of his studies in this style, blending fresh technical ideas with his lasting fascination for the Chinese panorama. The work was painted after his return from Paris, whereupon he was appointed as a professor at the Shanghai Academy of Fine Art, famed for its lineage of acclaimed graduates and teachers such as Ding Yan Yong. Studying abroad, Liu had been profoundly influenced by the modernist School of Paris and figures such as Matisse and Cezanne, rapidly picking up the best of their practices. Indeed, this striking piece pays stylistic homage to Cezanne’s Impressionism, featuring bright illuminated colors and short, repetitive brushstrokes that build up to form complex vistas of nature. The work ultimately showcases the vivid pastoral beauty of the country from its fields to the sea, and while Liu framed it through a Western lens, it still retains an enduring Asian spirit.