.jpg?w=1)
Lot Essay
'The only thing I aim for in painting is strength.' KUMI SUGAÏ
Considered part of the younger generation of the École de Paris (School of Paris), Japanese artist Kumi Sugaï (1919-1996) was active in European art world since the 1950s. Born in Kobe, Japan in a musician family, Sugaï received formal training in Western art and nihonga (Japanese traditionalstyle painting) in the 1930s and 1940s. Without satisfying the single-opinion dominated art scene in Japan in the 40s and 50s, Sugaï has boldly moved to Paris in 1952 in search for creative freedom. His first ten years in Paris was a critical stage to his career. During this period of time, Sugaï took his stand as a solitary individual and progressively created a new definition of Japanese style, breaking through from Japanism constructed by the West. Sugaï 's international recognition is demonstrated by his exhibition at Documenta, Kassel, in 1959 and 1964; Sao Paulo Biennale in 1959 and 1965; and Venice Biennale in 1962.
Composition (Lot 629) is produced in 1956, the fourth year of Sugai's arrival in Paris, it is also the year when his famous Oni (demons in Japanese folklore) series began. Transformed from sign and symbol, Composition is a pure architectural construction of crimson, grey, black and white colour plates and line in systematic gestural style. Sugai's skilful manipulation of solid and empty space composes musical rhythms.
The use of strong contrasting and striking bubble pink strips on Noir Rose (1968, Lot 628) creates vigorous contradiction which reminds the same visual effect on ukiyo-e (Japanese woodblock print). Four arrow shapes in black, grey and white colour form 'X' shape, carrying an expanding dynamic and converging at the center. The four fluorescent pink rectangles seemingly conveys heavy weight, balancing the kinetic energy underneath. In this way, Sugai's work becomes a clear and unbeatable visual statement. The creative and imaginative power of Sugaï is demonstrated in vast diversity created with basic form and pure colour.
1 SUGAÏ Catalogue Raisonne de Loeuvre Grave 1955-96, 'Refusing Japonaiserie', Keiji Usami, Abe Publishing Ltd., Tokyo, 1996 (p. 310).
Considered part of the younger generation of the École de Paris (School of Paris), Japanese artist Kumi Sugaï (1919-1996) was active in European art world since the 1950s. Born in Kobe, Japan in a musician family, Sugaï received formal training in Western art and nihonga (Japanese traditionalstyle painting) in the 1930s and 1940s. Without satisfying the single-opinion dominated art scene in Japan in the 40s and 50s, Sugaï has boldly moved to Paris in 1952 in search for creative freedom. His first ten years in Paris was a critical stage to his career. During this period of time, Sugaï took his stand as a solitary individual and progressively created a new definition of Japanese style, breaking through from Japanism constructed by the West. Sugaï 's international recognition is demonstrated by his exhibition at Documenta, Kassel, in 1959 and 1964; Sao Paulo Biennale in 1959 and 1965; and Venice Biennale in 1962.
Composition (Lot 629) is produced in 1956, the fourth year of Sugai's arrival in Paris, it is also the year when his famous Oni (demons in Japanese folklore) series began. Transformed from sign and symbol, Composition is a pure architectural construction of crimson, grey, black and white colour plates and line in systematic gestural style. Sugai's skilful manipulation of solid and empty space composes musical rhythms.
The use of strong contrasting and striking bubble pink strips on Noir Rose (1968, Lot 628) creates vigorous contradiction which reminds the same visual effect on ukiyo-e (Japanese woodblock print). Four arrow shapes in black, grey and white colour form 'X' shape, carrying an expanding dynamic and converging at the center. The four fluorescent pink rectangles seemingly conveys heavy weight, balancing the kinetic energy underneath. In this way, Sugai's work becomes a clear and unbeatable visual statement. The creative and imaginative power of Sugaï is demonstrated in vast diversity created with basic form and pure colour.
1 SUGAÏ Catalogue Raisonne de Loeuvre Grave 1955-96, 'Refusing Japonaiserie', Keiji Usami, Abe Publishing Ltd., Tokyo, 1996 (p. 310).