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Lot Essay
The 1990s marked a decade of transformation in Wu Guanzhong’s creativity and a rise in his status as an internationally acclaimed artist. In 1992, he presented his solo exhibition at the British Museum, becoming the first living artist to receive this honor. In 1993, he was invited to exhibit at the Musée Cernuschi in Paris, a city that enriched him with artistic skills and sensibilities.
Starting in the 1990s, Wu Guanzhong’s artistic expression grew bolder, leading to more abstract and larger-scale works. The tools he used to convey Eastern aesthetics—points, lines, and planes—became even more prominent, freely and widely employed in his ink paintings during this period. This shift is clearly visible in “Three Friends in Company in Wintry Times,” where Wu’s ink dots, lines, and planes filled every inch of the composition. Additionally, Wu expanded his repertoire to include non-landscape themes.
Three Friends in Company in Wintry Times serves as a poignant and successful example of Wu’s work in the 1990s, showcasing the artist’s carefree brushwork, bold composition, and a daring departure from the familiar landscapes that propelled him to fame in the 1980s. Employing black ink to outline the painting’s structure, Wu Guanzhong then embellished the scene with colors—utilizing pastel green strokes for pine needles and bamboo leaves, and dots of pink and dark red to depict plum blossoms. The “three friends of winter” symbol, originating from the “Record of Fine-cloud Plum Cottage” by Song Dynasty writer Lin Jingxi, praises individuals who exhibit resilience in adverse environments, much like how pine, bamboo, and plum blossoms persistently grow and blossom during harsh winters.
Starting in the 1990s, Wu Guanzhong’s artistic expression grew bolder, leading to more abstract and larger-scale works. The tools he used to convey Eastern aesthetics—points, lines, and planes—became even more prominent, freely and widely employed in his ink paintings during this period. This shift is clearly visible in “Three Friends in Company in Wintry Times,” where Wu’s ink dots, lines, and planes filled every inch of the composition. Additionally, Wu expanded his repertoire to include non-landscape themes.
Three Friends in Company in Wintry Times serves as a poignant and successful example of Wu’s work in the 1990s, showcasing the artist’s carefree brushwork, bold composition, and a daring departure from the familiar landscapes that propelled him to fame in the 1980s. Employing black ink to outline the painting’s structure, Wu Guanzhong then embellished the scene with colors—utilizing pastel green strokes for pine needles and bamboo leaves, and dots of pink and dark red to depict plum blossoms. The “three friends of winter” symbol, originating from the “Record of Fine-cloud Plum Cottage” by Song Dynasty writer Lin Jingxi, praises individuals who exhibit resilience in adverse environments, much like how pine, bamboo, and plum blossoms persistently grow and blossom during harsh winters.