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Lot Essay
As one of the first-generation Chinese American artists, David Wu Ject-key's oil painting demonstrates the unique aesthetic qualities of Chinese art. Wu sought to synthesise the spirit and expression of both Western and Chinese painting. His painterly style was mainly influenced by Realism, and he enriched the canvas in Impressionistic manner. The following lots from the artist present a selection of works on canvas that showcases his artistic development in the 1940s and early 1950s.
The emphasis of colour is particularly evident in Muse (Lot 386), wherein different shades of purple loosely applied to the figure's hand, exuding a confidence with which Wu handles the medium.
This work is carefully signed in two languages by Wu. In classical Chinese painting, the text acts as an integral formal element that balances the composition. Signed vertically in Chinese and horizontally in English, this signified the artist's assertion of his own identity as both Eastern and Western, marking an important signpost in the history of East-West cultural exchange.
In Red Scarf (Lot 388), the bright red paint, together with the green shades on the figure's body, and the background, creating a strong visual impact on the viewer. In Seated lady in Mandarin Robe (Lot 390), the headscarf and decorative patterns on figure's robe stand out against the soft and harmonious surroundings.
Every portrait of Wu demonstrates his goal of depicting the character and the spirit of the sitter. For him, portraiture was a lot more than just physical likeness.
In Lady in Chinese Gown (Lot 387), the bright coloured embroidery on the figure's costumes stands out in relief against the robe. Though executed in oil, Wu painted the background with high fluidity and transparency, allowing the background to generate light, and a breathing space. In Seated Nude (Lot 389), the complex skin tone and the dash on her robe seemingly applied in rapid motions. His rhythmic and loose brushwork and charismatic use of colours are comparable to Impressionist style.
The emphasis of colour is particularly evident in Muse (Lot 386), wherein different shades of purple loosely applied to the figure's hand, exuding a confidence with which Wu handles the medium.
This work is carefully signed in two languages by Wu. In classical Chinese painting, the text acts as an integral formal element that balances the composition. Signed vertically in Chinese and horizontally in English, this signified the artist's assertion of his own identity as both Eastern and Western, marking an important signpost in the history of East-West cultural exchange.
In Red Scarf (Lot 388), the bright red paint, together with the green shades on the figure's body, and the background, creating a strong visual impact on the viewer. In Seated lady in Mandarin Robe (Lot 390), the headscarf and decorative patterns on figure's robe stand out against the soft and harmonious surroundings.
Every portrait of Wu demonstrates his goal of depicting the character and the spirit of the sitter. For him, portraiture was a lot more than just physical likeness.
In Lady in Chinese Gown (Lot 387), the bright coloured embroidery on the figure's costumes stands out in relief against the robe. Though executed in oil, Wu painted the background with high fluidity and transparency, allowing the background to generate light, and a breathing space. In Seated Nude (Lot 389), the complex skin tone and the dash on her robe seemingly applied in rapid motions. His rhythmic and loose brushwork and charismatic use of colours are comparable to Impressionist style.