Le 30 mars 1982

Create your first list.

A way to share and manage lots.

  • Condition Report

    Request Condition Report
  • Provenance

    Acquired directly from the artist by the present owner

  • Exhibited

    Paris, Pinacothèque de Paris, Chu Teh-Chun: Les chemins de l’abstraction, 11 October 2013 - 16 March 2014, p. 90 (illustrated)

  • Catalogue Essay

    Chu Teh-Chun was a celebrated Chinese-French modern painter who pioneered a singular style unifying traditional Chinese painting techniques and Western abstract expressionist art. Trained at the National School of Fine Arts in Hangzhou under the tutelage of Wu Dayu and Fang Ganmin, both of whom were considered fathers of Chinese oil painting, Chu became known as one of the ‘Three Musketeers’ of Chinese modernist art alongside friends and former schoolmates Zao Wou-Ki and Wu Guanzhong, whose inventive and influential practices made them famous throughout the East and West.

    Eager to learn more about the art of Monet, Cézanne and Renoir, Chu left his professorship at the National University in Taipei and set sail for France in 1955. An extremely gifted realist painter, he won a silver medal at the French Artists Art Fair for an academic portrait of his wife which was dubbed "the Mona Lisa of the East". But in 1956 a visit to the retrospective of the abstract painter Nicolas de Staël at the Musée National d’Art Moderne in Paris left Chu strongly shaken, and he made the astonishing decision to reject figurative painting and start anew. Chu later explained:

    De Staël was a great revelation for me. Previously, I was an objective painter, but now I am no longer interested in this way of painting, because after having begun to study abstract painting, I profoundly and obviously felt the freedom of expression which it testifies to.” (translated from Pierre Cabanne, Chu Teh-chun, les Chemins de l’abstraction, Paris, 2013, n.p.)

    Exploring abstraction led Chu to an unexpected way of bridging the artistic cultures of China and the West, without diminishing the virtues of either. Throughout the 1960s he developed a captivating, dream-like style of abstract landscape painting, with expressive brushwork and an intense palette giving rise to a new dynamic interplay of harmony and energy in his works. Heavily influenced by his love of Chinese poetry and calligraphy, Chu Teh-Chun believed poetry and painting followed ‘the same rules and rhythms’, and a distinctly lyrical quality pervades all of his abstract works.

    The creation of Le 30 mars 1982 marked a crowning moment in Chu’s life and a milestone in his growing critical success: the inauguration of an important retrospective of paintings and drawings made since Chu’s 1955 arrival in Paris, showing at the Musée des Beaux-Arts Andre Malraux at Le Havre. Now at the height of his expressive powers, Le 30 mars 1982 channels a sublime, spiritual energy and a poetic complexity of feeling. The blue oceanic expanse echoes the fateful journey by boat which brought Chu to France, the same journey where he crossed paths with his future wife Ching Chao and encountered for the first time the exotic lands of Cairo, Djibouti, Sri Lanka, and Vietnam. The quiet, contemplative mood is pierced by a luminous ray of light breaking through the thick, dark clouds – a motif Chu developed throughout the 1970s following his encounter with Rembrandt’s strikingly-lit oil paintings in the Netherlands.

    Dramatic chiaroscuro and the interplay of light and shadow gave Chu’s 1980 works, in particular Le 30 mars 1982, a stirring gravity and depth unmatched by his artistic peers in the East or West. Chu’s training with the modern ink master Pan Tianshou at the National School of Fine Arts had also taught him the art of caoshu (‘rough script’), a form of cursive calligraphy in which the characters are executed in one controlled yet spontaneous stroke - a technique which lends an intensity and vigour to the washed technique of Le 30 mars 1982. The union of abstraction, calligraphy and poetry in Chu’s work points towards China’s unique intellectual heritage, in particular the Song Dynasty artists Su Shi, an acclaimed poet-painter who saw art as an outward expression of the artist’s interior experience, and Mi Fu, who pioneered a technique known as ‘splashed ink’, using moist washes and textured strokes to evoke the misty and rainy landscapes of the region (see for example Tower of Rising Clouds which is attributed to him). Upholding the rigour and spirit of Eastern calligraphy and philosophy in brushwork and composition gave Chu’s deep, richly coloured brushstrokes the ability to transcend the dichotomy of abstraction versus figuration, and to reconfigure the Western mode of abstract expressionism in Le 30 mars 1982. ‘His bold lines are like downpours, while his thin ones are like whispers,’ Wu Guanzhong wrote of Chu’s paintings.

    With a transcendental universal aesthetic that sets him apart from Western abstractionists and his Chinese peers, Chu has been the subject of major institutional retrospectives. 2020 will be a significant work for Chu’s legacy, with a large travelling retrospective exhibition scheduled to open at the National Museum of China, Beijing, in April 2020, followed by a second exhibition at the end of 2020 in Suzhou, the city of Chu’s birth, focusing on his works on paper.

  • Catalogue Essay

    朱德群是一位著名的華裔法國現代畫家,他開創了一種融貫中國傳統繪畫技巧和西方抽象表現主義的獨特風格。畢業於杭州國立藝術專科學校,師從被稱為中國油畫之父的吳大羽和方幹民,朱德群與好友暨校友趙無極、吳冠中,被稱為中國現代藝術「三劍俠」,三人具有創造力和影響力的藝術創作使他們在東西方聲名遠播。

    渴望進一步學習莫奈,塞尚和雷諾瓦的藝術,朱德群在1955年離任他在台北國立大學的教授職位,啟程赴法。作為一名極具天賦的現實主義畫家,他為被稱作「東方的蒙娜麗莎」的妻子所畫的一幅著名的學術肖像為他贏得了「巴黎春季藝術沙龍」銀獎。然而在1956年,朱德群在巴黎國立現代藝術博物看了抽象畫家尼古拉·德·斯塔埃爾的回顧展後,受到極大的震驚,並作出了一個非比尋常的决定:放棄具象繪畫,一切從頭開始。朱德群後來解釋說:

    「德·斯塔埃爾對我來說是一個巨大的啟示。在那之前,我是一個具象畫家,但現在我對這種繪畫已經沒有興趣,因為在我開始研究抽象繪畫之後,我深刻、清晰地感受到了它所證明的表達上的自由。」(譯自皮耶·卡班,《朱德群,抽象之路》,巴黎,2013年,無頁碼)

    對抽象的探索以一種意想不到的方式將朱德群引向了對中西方藝術文化的結合,但不削減任何一方的精萃。在整個1960年代,他發展出了一種動人、夢幻的抽象風景之風格,具有表現力的筆法和濃烈的用色,為他的作品帶來了一種全新的、在和諧與能量之間的充滿活力的相互作用。深受他對中國詩詞和書法的熱愛之影響,朱德群相信詩詞和繪畫遵循「相同的規則和節奏」,而他的抽象作品中亦散發著顯著的抒情特質。

    《1982年3月30日》此作標誌著朱德群人生最重要的時刻和他日益增長的學術成功之里程碑:他的重要回顧展於勒阿弗爾的安德烈·馬爾羅美術館開幕,展出了朱德群自1955年到了巴黎之後開始所創作的繪畫與素描作品。此時正值他的表達能量高峰,《1982年3月30日》呈現了壯麗的精神力量和詩意的豐富情感。大片的藍色汪洋象徵著朱德群乘船赴法的命定旅程,亦是同樣的旅程使他與未來的妻子景昭相遇,以及他首次與開羅、吉布提、斯里蘭卡和越南的異域疆土邂逅。寧靜、沈思的氛圍被一束亮光刺破,穿過厚重、黑暗的雲層——這是自朱德群在荷蘭邂逅林布蘭特的油畫中所塑造的驚人光線之後,於整個1970年代所發展的主題。

    戲劇性的明暗對照和光影的交錯給予朱德群1980年代的作品,尤其是《1982年3月30日》,一種令人振奮的莊重與深度,這在他同時代的東西方藝術家中都無人可以比擬。朱德群在國立藝術專科學校時在現代水墨大師潘天壽門下的學習,也教會了他草書的藝術,一種潦草的書法形式,字體有章法可循,卻又筆勢流暢——該技巧給《1982年3月30日》中所運用的水洗技法增添了勢頭和力度。朱德群作品中對抽象、書法和詩詞的融貫體現了他對中國文化傳統的承襲,尤其是宋代的藝術家,著名的詩人和畫家蘇軾將藝術視為藝術家內在體驗的對外表達,而米芾開創了「潑墨」的技法,利用水墨點染的方法,以濃、淡、染的墨法,點出山水煙雨(參考被認為出自米芾的《雲起樓圖》為例)。在筆法和構圖上秉承東方書法和哲學的嚴謹和精神,使朱德群色彩濃厚、豐富的筆觸能夠超越抽象與具象之間的對立,並且在《1982年3月30日》對西方式的抽象表現主義進行重構。吳冠中評價他作品中的線條為「大弦嘈嘈如急雨,小弦切切如私語。」

    憑藉其超凡、普遍的美學,在西方抽象主義藝術家和同時代的中國藝術家中別具一格,朱德群的回顧展曾在許多重要的藝術機構舉辦。2020年將是對朱德群的藝術遺產極為重要的一年,他的大型巡迴回顧展預計將在2020年4月於北京的中國國家博物館舉辦,隨後第二場以他紙上作品為主的展覽將於2020年底在朱德群的出生地蘇州舉辦。

Select Language

English

中文

14

Property of a Distinguished French Collector

Le 30 mars 1982

1982
signed and dated 'CHU TEH-CHUN. [in Chinese and Pinyin] 82.' lower right; further signed, titled and dated 'CHU TEH-CHUN [in Pinyin and Chinese] "le 30. mars 1982" ' on the reverse
oil on canvas
146 x 113 cm. (57 1/2 x 44 1/2 in.)
Painted on 30 March 1982, this work is accompanied by a certificate of authenticity issued by the Fondation Chu Teh-Chun.

Estimate
HK$4,200,000 - 6,200,000 
€488,000-720,000
$538,000-795,000

Place Advance Bid
Contact Specialist
Charlotte Raybaud
Head of Evening Sale, 20th Century & Contemporary Art

20th Century & Contemporary Art Evening Sale

Hong Kong Auction 24 November 2019