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Lot Essay
Considered one of the most significant and influential Indonesian artists in Southeast Asia, Lee Man Fong is one of the few to skilfully and successfully blend Eastern and Western techniques into his compositions. Being an Indonesian-Chinese artist who received Western training in painting, it is no wonder that the artist's primary objective has always been that of merging the two worlds - Chinese and Western painting. His technique is always Western, the understanding of light and shading, the maneuvering of his brush and oil and the application of perspective are apparent with his works whilst his sensibilities remain distinctly rooted in the Oriental.
The three landscape works presented this season at Christie's are demonstrative of the expansive landscape paintings that Lee Man Fong is known for, and is one of the themes that the artist developed during his lifetime. Evident in all three compositions is Lee Man Fong's development of his style, the Western and Chinese influences which eventually evolve into the artist's own characteristic style.
In his early years, Lee Man Fong's landscape compositions were a representation of his extensive knowledge of Western theories and technique. He was influenced by Dutch paintings and particularly captivated by the French Barbizon School style, especially those he saw while he was on scholarship in Holland after the war. This is evident in the artist's brush strokes with copious amount of paint, which were mostly darker and earthy tones. Landscape with Flamboyant Tree (Lot 247), with its thick and textured brush strokes and orange and brown hues, exude the warmth of the countryside. This style of painting that Lee Man Fong adopted during this period was similar to that of Dutch artists of the ninetieth and early twentieth century, where there was a common focus of conveying mood and emotion through a painting.
After Rain (Lot 248), painted in 1956, begins to indicate how Lee Man Fong's style evolved over the years. The subject matter, though Oriental and reminiscent of Chinese landscape paintings, is painted in a much brighter colour palette than what Lee Man Fong had used in his early years. The work suggests of a neo-impressionistic style of painting, with its attention to detail and a great emphasis on the depth and mood. The beautifully illuminated landscape points to Lee Man Fong's mastery in manipulating and shade. It is through this work that one is able to see how Lee Man Fong remained faithful to his cultural roots as an ethnic Chinese artist despite his solid foundation in Western painting traditions.
Pulang Kampung (Lot 246) depicts a man travelling on a donkey through a landscape back home. Lee Man Fong was fascinated by the beauty of Bali and through his paintings, paid homage to the every day life of the village people. The delicate brush strokes and earthy colour palette that Lee Man Fong used portrays the tranquillity and serenity of the landscape scene. The scale of the mountainous region in comparison to the figure indicates Lee Man Fong's desire to portray the exquisite and captivating landscape. The sepia tones of the painting accompanied by the discreetly outlined misty mountains displays the artist's attention to detail, but at the same time creates a peaceful and soothing atmosphere. Having been painted in 1962, this painting depicts how Lee Man Fong's style sophisticatedly evolved in his oeuvre.
The three landscape works presented this season at Christie's are demonstrative of the expansive landscape paintings that Lee Man Fong is known for, and is one of the themes that the artist developed during his lifetime. Evident in all three compositions is Lee Man Fong's development of his style, the Western and Chinese influences which eventually evolve into the artist's own characteristic style.
In his early years, Lee Man Fong's landscape compositions were a representation of his extensive knowledge of Western theories and technique. He was influenced by Dutch paintings and particularly captivated by the French Barbizon School style, especially those he saw while he was on scholarship in Holland after the war. This is evident in the artist's brush strokes with copious amount of paint, which were mostly darker and earthy tones. Landscape with Flamboyant Tree (Lot 247), with its thick and textured brush strokes and orange and brown hues, exude the warmth of the countryside. This style of painting that Lee Man Fong adopted during this period was similar to that of Dutch artists of the ninetieth and early twentieth century, where there was a common focus of conveying mood and emotion through a painting.
After Rain (Lot 248), painted in 1956, begins to indicate how Lee Man Fong's style evolved over the years. The subject matter, though Oriental and reminiscent of Chinese landscape paintings, is painted in a much brighter colour palette than what Lee Man Fong had used in his early years. The work suggests of a neo-impressionistic style of painting, with its attention to detail and a great emphasis on the depth and mood. The beautifully illuminated landscape points to Lee Man Fong's mastery in manipulating and shade. It is through this work that one is able to see how Lee Man Fong remained faithful to his cultural roots as an ethnic Chinese artist despite his solid foundation in Western painting traditions.
Pulang Kampung (Lot 246) depicts a man travelling on a donkey through a landscape back home. Lee Man Fong was fascinated by the beauty of Bali and through his paintings, paid homage to the every day life of the village people. The delicate brush strokes and earthy colour palette that Lee Man Fong used portrays the tranquillity and serenity of the landscape scene. The scale of the mountainous region in comparison to the figure indicates Lee Man Fong's desire to portray the exquisite and captivating landscape. The sepia tones of the painting accompanied by the discreetly outlined misty mountains displays the artist's attention to detail, but at the same time creates a peaceful and soothing atmosphere. Having been painted in 1962, this painting depicts how Lee Man Fong's style sophisticatedly evolved in his oeuvre.