Zao Wou-Ki 趙無極, ‘Etching No. 340’, 1989, Gilden's Art Gallery
Zao Wou-Ki 趙無極, ‘Etching No. 340’, 1989, Gilden's Art Gallery
Zao Wou-Ki 趙無極, ‘Etching No. 340’, 1989, Gilden's Art Gallery
Zao Wou-Ki 趙無極, ‘Etching No. 340’, 1989, Gilden's Art Gallery
Zao Wou-Ki 趙無極, ‘Etching No. 340’, 1989, Gilden's Art Gallery

This colour etching is Hand signed in pencil by the artist in Chinese and Pinyin at the lower right margin,
and dated in pencil next to the signature '89 (1989).
It is Hand Numbered in pencil "2/99" at the lower left margin.
This work was published by Polígrafa, Barcelona in 1986 in a limited edition of only 99 hand signed and numbered impressions. There were a further 15 artist proofs.
The paper bears the BFK Rives watermark.

Provenance: Acquired directly from the publisher, Poligrafa, Barcelona.

Literature: Jorgen Agerup. 1994. Zao Wou-Ki - The Graphic Work - A Catalogue Raisonne 1937-1995. Copenhagen, Denmark: Heede & Moestrup.
Reference: Agerup 340.

Condition: Excellent condition.

About Zao Wou-Ki 趙無極

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.

Chinese-French, 1921-2013, Beijing, China