.jpg?w=1)
Lot Essay
In 1970?, ?Chu Teh-Chun was profoundly influenced by the 300-year retrospective exhibition of Rembrandt at the Rijksmuseum in Amsterdam?. ?There?, ?he encountered Rembrandt's miraculous use of light?. ?This spurred him to think about how he could give his paintings more emotional depth through the skillful application of light?. ?Chu-Teh-Chun spoke with great admiration about the works of Rembrandt?. In particular?, he was drawn to Rembrandt's chiaroscuro technique?. ?Chu notes that in Rembrandt's work the dramatic contrasts between light and dark create a great sense of mystery and power and psychological depth?, ?which has continued to affect viewers even after 300? ?years?. ?Chu Teh-Chun thus embarked on the mission to capture eternal and universal emotions in his works?. ?Although Chu adapted light effects from Rembrandt's oil paintings, ?his light effects encapsulate the core principles of the Chinese Universe?, ?based on the duality of? ?yin? ?and? ?yang?, ?light and dark?. ?Chu thought deeply about and sought to represent the moment at which strands of light intersect?.? ???????????????????
Visual layering develops in the shifts between dense, weighty colours and lighter or more diffuse hues across the canvas, and, as in other works of this period, Untitled (Lot 3347) and Les colleens du Sud (The Hills of South) (Lot 3348) demonstrates great subtlety and precision in the rhythms and cadences with which its strands of light and colour are interwoven. The paintings streaks of white cascade across the surface in bright, beautiful brushstrokes that produce waterfall-like forms; like waves, dancing sunlight, or drifting haze above water, these magnificent effects capture the imagination and draw us into the world of the painting. By contrast with Turner, whose swirling compositions express the hidden power within nature and the smallness of humanity within its vast reach (Fig. 1), Chu Teh-Chun uses the elements of points, lines, and planes to give the details of the physical world a spiritual dimension, making the scene on the canvas a symbolic one. 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.
Visual layering develops in the shifts between dense, weighty colours and lighter or more diffuse hues across the canvas, and, as in other works of this period, Untitled (Lot 3347) and Les colleens du Sud (The Hills of South) (Lot 3348) demonstrates great subtlety and precision in the rhythms and cadences with which its strands of light and colour are interwoven. The paintings streaks of white cascade across the surface in bright, beautiful brushstrokes that produce waterfall-like forms; like waves, dancing sunlight, or drifting haze above water, these magnificent effects capture the imagination and draw us into the world of the painting. By contrast with Turner, whose swirling compositions express the hidden power within nature and the smallness of humanity within its vast reach (Fig. 1), Chu Teh-Chun uses the elements of points, lines, and planes to give the details of the physical world a spiritual dimension, making the scene on the canvas a symbolic one. 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.