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Voiles a la mer, 1953

Five-color lithograph on Rives paper
15 1/4 × 20 in
38.7 × 50.8 cm
Edition 91/120
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About the work
W
Wright

This work is number 91 from the edition of 120 printed by E. and J. Desjobert and published by La …

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This work is number 91 from the edition of 120 printed by E. and J. Desjobert and published by La Hune, Paris.

Signature
Signed, dated and numbered to lower edge '91/120 Zao Wou-Ki 53'.
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.

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view
View in room
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Save
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view
View in room
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About the work
W
Wright

This work is number 91 from the edition of 120 printed by E. and J. Desjobert and published by La …

Read more

This work is number 91 from the edition of 120 printed by E. and J. Desjobert and published by La Hune, Paris.

Signature
Signed, dated and numbered to lower edge '91/120 Zao Wou-Ki 53'.
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.

Voiles a la mer, 1953

Five-color lithograph on Rives paper
15 1/4 × 20 in
38.7 × 50.8 cm
Edition 91/120
Bidding closed
Want to sell a work by this artist? Consign with Artsy.
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