.jpg?w=1)
Lot Essay
Painted in the early 1940s, Vue d'Honfleur shows a picturesque rural setting of Honfleur in the North West of France, by Pan Yuliang in the early stage of her artistic career. Pan is a renowned modern Chinese painter who is known for bridging the gap between the East and the West through her works. She was one of the first female Chinese artists who went to study abroad in France in the early 1920s at the École des Beaux-Arts, and have had works exhibited at the Salon in France, as well as exhibitions in Europe. A professionally trained painter, she was deeply influenced by Western artists and art movements, particularly of works by Vincent van Gogh and Henri Matisse.
Vue d'Honfleur is an example that demonstrates perfectly the Chinese artist's approach and talent in employing both Western and Chinese painting techniques. The subject matter of this exquisite outdoor painting is a distinctive feature of Impressionism, depicting the rustic landscape. Pan uses different shades of green particularly in the vegetation on the left. This helps to accentuate the light and depth of the shifting scenery as Pan was executing her work en plein air. The visible brushwork and thick impasto are significant attributes of Impressionist paintings, indicating the work being painted is done in a spontaneous manner.
Central to the work is also the emphasis of line that is valued in traditional Chinese painting. The visibility of lines not only adds pictorial depth and perspective to the topography, but also exhibits the influence of Chinese art and culture on the artist. Together with the effect of the thick impasto, it renders a vivid representation of the scenic terrain.
Vue d'Honfleur fully illustrates the strength and foundation of Pan's artistic technique, and reveals her understanding of Chinese culture and Western aesthetics. Apart from the present lot, Pan has also painted similar sceneries and cityscapes (Fig. 1) during her extensive travels in France and around Europe. In addition to an Impressionistic portrayal of everyday life, she is also a prolific painter in portraying the female figure in nude form, still lifes and self-portraits - subjects which were prevalent in western society at the time. Pan successfully incorporates elements of the East and the West in her work, expressing her comprehension of Western art movements, yet retaining a traditional Chinese conception of art, establishing her very own style in the art world.
Vue d'Honfleur is an example that demonstrates perfectly the Chinese artist's approach and talent in employing both Western and Chinese painting techniques. The subject matter of this exquisite outdoor painting is a distinctive feature of Impressionism, depicting the rustic landscape. Pan uses different shades of green particularly in the vegetation on the left. This helps to accentuate the light and depth of the shifting scenery as Pan was executing her work en plein air. The visible brushwork and thick impasto are significant attributes of Impressionist paintings, indicating the work being painted is done in a spontaneous manner.
Central to the work is also the emphasis of line that is valued in traditional Chinese painting. The visibility of lines not only adds pictorial depth and perspective to the topography, but also exhibits the influence of Chinese art and culture on the artist. Together with the effect of the thick impasto, it renders a vivid representation of the scenic terrain.
Vue d'Honfleur fully illustrates the strength and foundation of Pan's artistic technique, and reveals her understanding of Chinese culture and Western aesthetics. Apart from the present lot, Pan has also painted similar sceneries and cityscapes (Fig. 1) during her extensive travels in France and around Europe. In addition to an Impressionistic portrayal of everyday life, she is also a prolific painter in portraying the female figure in nude form, still lifes and self-portraits - subjects which were prevalent in western society at the time. Pan successfully incorporates elements of the East and the West in her work, expressing her comprehension of Western art movements, yet retaining a traditional Chinese conception of art, establishing her very own style in the art world.