(ZHU DEQUN, French/Chinese, B. 1920)
signed in Chinese; signed 'CHU TEH-CHUN' (lower right)
oil on canvas
32.5 x 24 cm. (12 7/8 x 9 1/3 in.)
Painted in 1970
Acquired directly from the artist by the present owner

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Felix Yip
Felix Yip

Lot Essay

As the art critic Jean-Clarence Lambert once commented, Chu Teh-Chun possesses "a unifying reason strengthening the coherence of the best structured works." In his opinion, if attempting to categorize Chu in the four symbolically constitutive elements of the universe, he saw Chu Teh-Chun as "a painter of fire, -of Air and Fire, with, besides, something indefinable to which pertains that particular mystery, that personal magic power qualifying him as an unparalleled figure in a general survey of the Ecole de Paris" (Lambert, Chu Teh-Chun, 1987, p.22).
Applied with freedom and confidence, Chu demonstrates to produce a graceful flow from magnificent colours, by that, he far surpasses the other painters of his generation. Chu's colour scheme underwent some changes in the 1970s, when he had the opportunity to study the work of Rembrandt, and later he discovered a variety of different means for producing his desired colour effects.

Created in 1970, the scale of Untitled (Lot 2101) is small but Chu imbues indefinite depths into the dimensions and unleashes a memorizing force to lure the viewers into this comic through the dimming glows of fire in the darkness, lending the enchanting illusion as seen in Ramberandt's exquisite skills of staging dramatic lights and shadows in his painting (Fig. 1). Chu's dexterous brushwork seems capable of suggesting movement in any direction, left or right, up or down, or leading more deeply into the painting; the light inside the painting seems alive with vibration, expanding and evolving into new and fantastic visual impressions along with the rise and fall of the colours in their wavelike motion through the canvas. Albeit its minimal dimensions, Chu's Untitled convey's the artist's meditative contemplation on the cosmo, and gives form to the expansive vision parallel to majestic landscape in Guo Xi's Early Spring (Fig. 2).

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