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Lot Essay
It is in every artist's nature to be a witness to his time, portraying its face in a way that touches people's hearts. This is Luo Zhongli's attitude towards creating his art. Born in 1948 in Chongqing, Luo Zhongli moved to a village near Daba Mountain at the age of 20 and lived there for ten years. He then studied at Sichuan Fine Arts Institute, and after graduation went abroad for further studies at the Royal Academy of Fine Arts in Belgium. Every episode in the artist's life has become become mirrored in his artistic expression, allowing his works to reflect the greater changes in his country as well as his philosophical beliefs. In a pure and unadorned visual context, Luo communicates the notion of transience of existence to contemporary viewers through his realistic and expressive depictions.
Luo Zhongli's creative style gradually changed from Photorealism in the 1980s to portraying figures with expressive strokes and symbols. In Crossing The River II (Lot 121), the painter uses brushstrokes in various directions, which are reminiscent of the techniques of Vincent van Gogh and German Expressionism. Unlike the sense of agony or anxiety often found in their art, Luo's fine and fragmented lines are intertwined to create a sense of tranquility and harmony.
In the painting, a large rock is juxtaposed with the stones in the stream in the frontal plane, forming a circular visual stage on the canvas. At the centre of this stage, there are peasants accompanied by a loyal dog, a beam of light dramatically illuminating them from the back. The sunset lights up the river and simultaneously shades the facial details and expressions of the figures, which can only be discerned with attentive eyes. The ambience and superb contrast of light and shade can be compared to Jules Breton's The Song of the Lark. In The Song of the Lark, while the young lady in the field is singing into the distance, the lark - with unadorned plumage - sings in a clear and graceful voice. The painting is carefully arranged and its faint light emits a sense of warmth. The resilience of rural people and their respect for nature reminds people of the goodness in a society.
In Crossing The River II, the lower bodies of the man and woman are firm and strong, and their tough life has been imprinted on their tanned skin and palms. The two figures lower their heads to look at the stones in the fast-flowing stream, deciding to face the forthcoming challenge with determination: take a bold leap across. The peaceful looks on their faces are contrasted with the rapidly-running river, which is painted with repetitive thick and powerful strokes. The somber and rustic atmosphere of this painting captivates the viewer's eyes and heart with its originality. Through painting the rugged landscapes of Sichuan, Luo Zhongli leads us to the hidden oasis in hearts.
The definition of realism in contemporary art has been blurred. Artists are no longer content with using solely realistic techniques. Luo Zhongli does not paint in a realistic style; rather, he invests his art with his life experiences and emotions. But how can his portraits be so genuine, even more realistic than real life? It is the free and spontaneous style he employed in capturing the reality in his mind, the cultural heritage of Daba Mountain, the rural villages he has loved since he was young, and the purity of human nature. Hardships in life are a part of a greater natural phenomenon. By accepting and embracing it, we might just become more tolerant, more courageous and more enlivened to enjoy life as it is.
Luo Zhongli's creative style gradually changed from Photorealism in the 1980s to portraying figures with expressive strokes and symbols. In Crossing The River II (Lot 121), the painter uses brushstrokes in various directions, which are reminiscent of the techniques of Vincent van Gogh and German Expressionism. Unlike the sense of agony or anxiety often found in their art, Luo's fine and fragmented lines are intertwined to create a sense of tranquility and harmony.
In the painting, a large rock is juxtaposed with the stones in the stream in the frontal plane, forming a circular visual stage on the canvas. At the centre of this stage, there are peasants accompanied by a loyal dog, a beam of light dramatically illuminating them from the back. The sunset lights up the river and simultaneously shades the facial details and expressions of the figures, which can only be discerned with attentive eyes. The ambience and superb contrast of light and shade can be compared to Jules Breton's The Song of the Lark. In The Song of the Lark, while the young lady in the field is singing into the distance, the lark - with unadorned plumage - sings in a clear and graceful voice. The painting is carefully arranged and its faint light emits a sense of warmth. The resilience of rural people and their respect for nature reminds people of the goodness in a society.
In Crossing The River II, the lower bodies of the man and woman are firm and strong, and their tough life has been imprinted on their tanned skin and palms. The two figures lower their heads to look at the stones in the fast-flowing stream, deciding to face the forthcoming challenge with determination: take a bold leap across. The peaceful looks on their faces are contrasted with the rapidly-running river, which is painted with repetitive thick and powerful strokes. The somber and rustic atmosphere of this painting captivates the viewer's eyes and heart with its originality. Through painting the rugged landscapes of Sichuan, Luo Zhongli leads us to the hidden oasis in hearts.
The definition of realism in contemporary art has been blurred. Artists are no longer content with using solely realistic techniques. Luo Zhongli does not paint in a realistic style; rather, he invests his art with his life experiences and emotions. But how can his portraits be so genuine, even more realistic than real life? It is the free and spontaneous style he employed in capturing the reality in his mind, the cultural heritage of Daba Mountain, the rural villages he has loved since he was young, and the purity of human nature. Hardships in life are a part of a greater natural phenomenon. By accepting and embracing it, we might just become more tolerant, more courageous and more enlivened to enjoy life as it is.