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Lot Essay
My first paintings are full of lyricism and extremely forceful colours; they are a kind of gestural abstraction, close to writing." - Lalan
In Chinese art history, it has been difficult for male artists to follow Western art trends, given that oil paintings have largely been neglected. It has been even harder for female artists to gain recognition. The works and efforts of Xie Jinglan (Lalan), a contemporary Chinese female artist should not be overlooked: the artist offers an independent interpretation of oil painting and abstract art. If Zao Wou-ki's paintings are synonymous with the creation of 'space,' and Chu The-Chun's paintings with the creation of 'light , then Lalan's paintings surely are evocative "dance" and "music".
Born in Guizhou, Xie Jinglan (Lalan) was brought up in an educated family. Her father was a learned scholar in both Chinese and Western music and a collector of flute. Lalan's interest in music thus was cultivated from a young age. In the 1930s, Lalan majored in music and singing at the Hangzhou Academy of Fine Arts and the Shanghai College of Music. After the war, she moved to France with her first husband, Zao Wou-Ki. There, she continued her studies, initially in music composition at the Ecole Normale de Musique de Paris, then in modern dance and avant-garde'electronic-music' at the American Art Centre in Paris.
Lalan began to create abstract paintings in 1957. Her early works encapsulate an urgent creative impulse and are reminiscent of the nature of Chinese calligraphic characters. Lalan's works also show the influence of Western ideas. In her works, she brings together elements of painting, dance and music. In the 1960s, Lalan composed performances for a modern ballet group in Paris. These experiences inspired and informed her subsequent painting works. After the Rain, 1968 (Lot 3374), epitomizes the artist's style from the 1960s. The painting illustrates how the artist seamlessly integrates the melodic rhythms of music with the elegance of dance.
The disorderly, intertwining brown and black calligraphic lines found on the centre-left side of the painting appear like writhing ribbons held up in the air by a ballerina. They also resemble the refined strokes of Chinese Calligraphy. Flowing and surging like music notes, the lines exude a powerful sense of energy and rhythm.
The background has been layered deliberately with both oil paint and ink wash for a richly textured effect. Light trickling out of the white and grey areas on the right seems to create a gradual leftward movement. This recreates the way grey clouds disperse after the rain to restore sunlight.
Composed in the midst of prevailing Art Informal trends in Europe and America, Lalan's lyrical abstract works mark the truly remarkable and unique achievement of the artist.
In Chinese art history, it has been difficult for male artists to follow Western art trends, given that oil paintings have largely been neglected. It has been even harder for female artists to gain recognition. The works and efforts of Xie Jinglan (Lalan), a contemporary Chinese female artist should not be overlooked: the artist offers an independent interpretation of oil painting and abstract art. If Zao Wou-ki's paintings are synonymous with the creation of 'space,' and Chu The-Chun's paintings with the creation of 'light , then Lalan's paintings surely are evocative "dance" and "music".
Born in Guizhou, Xie Jinglan (Lalan) was brought up in an educated family. Her father was a learned scholar in both Chinese and Western music and a collector of flute. Lalan's interest in music thus was cultivated from a young age. In the 1930s, Lalan majored in music and singing at the Hangzhou Academy of Fine Arts and the Shanghai College of Music. After the war, she moved to France with her first husband, Zao Wou-Ki. There, she continued her studies, initially in music composition at the Ecole Normale de Musique de Paris, then in modern dance and avant-garde'electronic-music' at the American Art Centre in Paris.
Lalan began to create abstract paintings in 1957. Her early works encapsulate an urgent creative impulse and are reminiscent of the nature of Chinese calligraphic characters. Lalan's works also show the influence of Western ideas. In her works, she brings together elements of painting, dance and music. In the 1960s, Lalan composed performances for a modern ballet group in Paris. These experiences inspired and informed her subsequent painting works. After the Rain, 1968 (Lot 3374), epitomizes the artist's style from the 1960s. The painting illustrates how the artist seamlessly integrates the melodic rhythms of music with the elegance of dance.
The disorderly, intertwining brown and black calligraphic lines found on the centre-left side of the painting appear like writhing ribbons held up in the air by a ballerina. They also resemble the refined strokes of Chinese Calligraphy. Flowing and surging like music notes, the lines exude a powerful sense of energy and rhythm.
The background has been layered deliberately with both oil paint and ink wash for a richly textured effect. Light trickling out of the white and grey areas on the right seems to create a gradual leftward movement. This recreates the way grey clouds disperse after the rain to restore sunlight.
Composed in the midst of prevailing Art Informal trends in Europe and America, Lalan's lyrical abstract works mark the truly remarkable and unique achievement of the artist.