T'ang Haywen 曾海文, ‘Untitled’, 1972, de Sarthe Gallery
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Untitled, 1972

Acrylic ink and watercolor on Kyro card, diptych
27 3/5 × 39 2/5 in
70 × 100 cm
This is a unique work.
Contact For Price
Location
Hong Kong, Beijing
Have a question? Visit our help center.
About the work
Medium
Drawing, Collage or other Work on Paper
Signature
Signed 'T'ang'; Signed in Chinese 'Haywen (Haiwan)', lower right
Image rights
Courtesy of de Sarthe and T'ang Haywen Archives
T'ang Haywen 曾海文
French-Chinese, 1927–1991
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T’ang Haywen’s atmospheric imagery can be divided into two categories: monochromatic ink-and-wash paintings and brightly exuberant watercolors. “We are only sensitive cells entering the stream,” T’ang once said, “we capture the energy source; the immediate seizure materializes with ink, paper and pencil.” Similar to Joan Mitchell’s pastel drawings, T’ang’s watercolors depict abstract landscapes composed of naturalistic colors and miasmas of soft, chromatic fields. His works—with their vertical orientation—resemble traditional Chinese landscape paintings of cloudy mountains, but are also balanced with contemporary Western conceptions of the genre. T’ang’s triptych format simultaneously evokes the Eastern tradition of vertical imagery and the horizontal landscape paintings of Western art history.

T'ang Haywen 曾海文, ‘Untitled’, 1972, de Sarthe Gallery
Save
Save
View
View in room
Share
Share
About the work
Medium
Drawing, Collage or other Work on Paper
Signature
Signed 'T'ang'; Signed in Chinese 'Haywen (Haiwan)', lower right
Image rights
Courtesy of de Sarthe and T'ang Haywen Archives
T'ang Haywen 曾海文
French-Chinese, 1927–1991
Follow

T’ang Haywen’s atmospheric imagery can be divided into two categories: monochromatic ink-and-wash paintings and brightly exuberant watercolors. “We are only sensitive cells entering the stream,” T’ang once said, “we capture the energy source; the immediate seizure materializes with ink, paper and pencil.” Similar to Joan Mitchell’s pastel drawings, T’ang’s watercolors depict abstract landscapes composed of naturalistic colors and miasmas of soft, chromatic fields. His works—with their vertical orientation—resemble traditional Chinese landscape paintings of cloudy mountains, but are also balanced with contemporary Western conceptions of the genre. T’ang’s triptych format simultaneously evokes the Eastern tradition of vertical imagery and the horizontal landscape paintings of Western art history.

Untitled, 1972

Acrylic ink and watercolor on Kyro card, diptych
27 3/5 × 39 2/5 in
70 × 100 cm
This is a unique work.
Contact For Price
Location
Hong Kong, Beijing
Have a question? Visit our help center.
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