Zao Wou-Ki 趙無極, ‘Ciel de Paris’, 1954, Print, Colour lithograph on Rives-Velin, Galerie Thomas
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Ciel de Paris, 1954

Colour lithograph on Rives-Velin
19 4/5 × 25 9/10 in
50.3 × 65.8 cm
€9,800
Location
Munich
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About the work
Medium
Signature
Signed and dated lower right numbered lower left
Zao Wou-Ki 趙無極
Chinese-French, 1921–2013
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A master of postwar art and the highest-selling Chinese painter of his generation, Zao Wou-ki applied Modernist art-making techniques to traditional Chinese literati painting. Zao moved to Paris in 1948, rejected his Chinese heritage, and immediately began painting in the style of Paul Klee, whose own style was influenced by Chinese landscape painting. By 1954, Zao had developed a unique style that was marked by contrasting colors and lyrical abstraction and that merged Chinese art, as viewed through the lens of European abstraction, with traditional Chinese landscapes. Zao remained wary of objectively Chinese-influenced art and avoided using ink for much of his career, preferring to work with oil paints in a calligraphic style. Like traditional Chinese landscape painting, Zao’s paintings function as fragments of a larger scene, possessing fluidity, transparency, and a graceful luminosity representative of the artist’s interior energies.

Zao Wou-Ki 趙無極, ‘Ciel de Paris’, 1954, Print, Colour lithograph on Rives-Velin, Galerie Thomas
Save
Save
View
View in room
Share
Share
About the work
Medium
Signature
Signed and dated lower right numbered lower left
Zao Wou-Ki 趙無極
Chinese-French, 1921–2013
Follow

A master of postwar art and the highest-selling Chinese painter of his generation, Zao Wou-ki applied Modernist art-making techniques to traditional Chinese literati painting. Zao moved to Paris in 1948, rejected his Chinese heritage, and immediately began painting in the style of Paul Klee, whose own style was influenced by Chinese landscape painting. By 1954, Zao had developed a unique style that was marked by contrasting colors and lyrical abstraction and that merged Chinese art, as viewed through the lens of European abstraction, with traditional Chinese landscapes. Zao remained wary of objectively Chinese-influenced art and avoided using ink for much of his career, preferring to work with oil paints in a calligraphic style. Like traditional Chinese landscape painting, Zao’s paintings function as fragments of a larger scene, possessing fluidity, transparency, and a graceful luminosity representative of the artist’s interior energies.

Ciel de Paris, 1954

Colour lithograph on Rives-Velin
19 4/5 × 25 9/10 in
50.3 × 65.8 cm
€9,800
Location
Munich
Have a question? Visit our help center.
Want to sell a work by this artist? Consign with Artsy.
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