LEE MAN FONG | Buffalo and Boy

Acquired directly from the artist
Private Collection, Singapore

This work is in good condition overall as viewed. Examination under the ultraviolet light reveals some minor restoration primarily on the upper left area at background and the bottom half of the painting (notably on the buffalo on the front), and one spot at the right edge of the work. 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. 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."

Chinese-born Lee Man Fong spent the majority of his life in Southeast Asia, though he crossed continents to learn Western art in the Netherlands. His art was a unique blend of east and west, ubiquitously known as ‘Eastern-style’ oil painting, or ‘Nanyang Style of the East’. He adopted the shading and anatomical depictions of Western art with masterly verisimilitude, and gracefully fused this with Chinese stylistic and perspectival nuances, paying homage to his heritage.  

In the present lot, Lee depicts two children seated on buffaloes. However, the composition of the landscape, and its rocky mountain terrain with long, sinuous tree branches, are reminiscent of traditional Shan Shui painting style. The brawny and well-built buffaloes, emphasized by Lee’s use of strong undulating outlines, are juxtaposed against the lithe and nimble figures on their backs. The girl in the foreground uses a tree branch as a makeshift bullwhip, highlighting her child-like innocence and imagination. She looks towards the distance, calling out excitedly to the boy in the douli, a farmer’s hat, who responds with an enthusiastic wave. 

 

The illusion of space and depth is created through the faded, lighter tones beyond the edge of the delineated terrain. Meanwhile, translucent blue hues form a shroud of mist that embrace the subjects in a dream-like state.  Lee’s pulsating brushstrokes and warm palette of colors produce a work of art brimming with atmosphere and mood. By assimilating his western approach with his deep-seated attachment to his Chinese heritage, he is truly the embodiment of the reformist Chinese painter.