Description
LIN FENGMIAN (1900-1991) Market scene, fishmongers Ink and gouache on paper Signed lower left, above a red stamp. Size: 33.3 x 33.3 cm With cream damask silk border; framed under glass. Condition: Freckling and slight yellowing of silk and paper; damp stain at the top, especially on the silk, but somewhat biting on the painting. Provenance: Lyon family, for several years. ATTENTION - NO LIVE AUCTIONS ON INTERENCHERES ATTENTION - NO LIVE AUCTIONS ON INTERENCHERES The scene, painted in pastel shades of blue, mauve and beige, depicts three women at a table, one cleaning fish. To her right, another woman provides fish, dipping her hand into a basket held by the third. In the foreground, in front of the table, three large baskets of fish, two still full, the one on the left, next to the third fishwife, empty. Lin Fengmian had recurring themes that he depicted more often than others, such as these evanescent female figures or Peking opera characters. Scenes of everyday life are rarer in the artist's work, but in this painting, we find the lively movement conferred by lively brushstrokes and rounded shapes, such as baskets and arms. About the artist : LIN FENGMIAN is one of those painters on whom the West in general, and France in particular, will have a major impact, which they will then transmit to China, upsetting ancestral references and traditions. Like a number of his compatriots, in 1918 he had the opportunity to go to France as part of a study program. He was one of the pioneers, along with Xu Beihong. Lin Fengmian stayed in France until 1925, first in Dijon, then in Paris, where he studied at the Ecole des Beaux-Arts. From then on, he was constantly striving to marry the Chinese artistic tradition with that of the West. On his return to China, he taught, first at the National Academy of Art in Beijing, then at the Hangzhou Academy of Art, of which he was director in both cases. Here, he taught what he had absorbed in the West, thus initiating, along with other contemporary artists also influenced by Western art, a profound break with Chinese artistic traditions, and playing a major role in the reform of art education in China. His pupils included Zao Wuki, Zhu Dechun and Wu Guanzhong, who in turn travelled to France, becoming as famous as the master. In the late 1960s and early 1970s, his work was heavily criticized by the authorities. He was even imprisoned for 4 years. He eventually left China and settled in Hong Kong in 1977, while continuing to travel the world.
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LIN FENGMIAN (1900-1991) Market scene, fishmongers Ink and gouache on paper Signed lower left, above a red stamp. Size: 33.3 x 33.3 cm With cream damask silk border; framed under glass. Condition: Freckling and slight yellowing of silk and paper; damp stain at the top, especially on the silk, but somewhat biting on the painting. Provenance: Lyon family, for several years. ATTENTION - NO LIVE AUCTIONS ON INTERENCHERES ATTENTION - NO LIVE AUCTIONS ON INTERENCHERES The scene, painted in pastel shades of blue, mauve and beige, depicts three women at a table, one cleaning fish. To her right, another woman provides fish, dipping her hand into a basket held by the third. In the foreground, in front of the table, three large baskets of fish, two still full, the one on the left, next to the third fishwife, empty. Lin Fengmian had recurring themes that he depicted more often than others, such as these evanescent female figures or Peking opera characters. Scenes of everyday life are rarer in the artist's work, but in this painting, we find the lively movement conferred by lively brushstrokes and rounded shapes, such as baskets and arms. About the artist : LIN FENGMIAN is one of those painters on whom the West in general, and France in particular, will have a major impact, which they will then transmit to China, upsetting ancestral references and traditions. Like a number of his compatriots, in 1918 he had the opportunity to go to France as part of a study program. He was one of the pioneers, along with Xu Beihong. Lin Fengmian stayed in France until 1925, first in Dijon, then in Paris, where he studied at the Ecole des Beaux-Arts. From then on, he was constantly striving to marry the Chinese artistic tradition with that of the West. On his return to China, he taught, first at the National Academy of Art in Beijing, then at the Hangzhou Academy of Art, of which he was director in both cases. Here, he taught what he had absorbed in the West, thus initiating, along with other contemporary artists also influenced by Western art, a profound break with Chinese artistic traditions, and playing a major role in the reform of art education in China. His pupils included Zao Wuki, Zhu Dechun and Wu Guanzhong, who in turn travelled to France, becoming as famous as the master. In the late 1960s and early 1970s, his work was heavily criticized by the authorities. He was even imprisoned for 4 years. He eventually left China and settled in Hong Kong in 1977, while continuing to travel the world.
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