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Lot Essay
The 'Nanyang' school, or style, of art developed in mid-20th century Singapore and is considered a formative part of Southeast Asian visual history. The term 'Nanyang' was originally used to describe the hybrid culture of Chinese migrants to the Southeast Asian region; and when applied to art, it grew to represent the mix of styles and techniques which first-generation artists such as Cheong Soo Pieng, Chen Wen Hsi, Liu Kang, Chen Chong Swee and Georgette Chen pioneered, blending Eastern and Western methodologies with indigenous subject matters.
A central milestone for the 'Nanyang' style is the historic trip to Bali in 1952 taken by Cheong Soo Pieng, Liu Kang, Chen Wen Hsi and Chen Chong Swee. The outcome of this exercise in plein-air study were richly detailed creations focused on Balinese life, local females, 'kampong' (village) scenes, or pastoral landscapes. Subsequently, the artists expanded their travels to other regions such as Sarawak and Java, drawing inspiration from their unique vernacular.
Two Maidens (Lot 3355) exemplifies Cheong Soo Pieng's mastery in merging figurative studies with a keen sense of modernism, while maintaining a poignant sense of localized authenticity. This painting of two beautiful young village girls sheltering under a tree is meticulously executed on silk. Their brightly patterned sarongs and the geometrical weave of the mat upon which they sit reflects local handicraft traditions, which is further accentuated by the way Cheong depicts the tight clusters of leaves framing the overall scene. This entire work is a refined and superb rendition of Cheong's Nanyang -style compositions.
A central milestone for the 'Nanyang' style is the historic trip to Bali in 1952 taken by Cheong Soo Pieng, Liu Kang, Chen Wen Hsi and Chen Chong Swee. The outcome of this exercise in plein-air study were richly detailed creations focused on Balinese life, local females, 'kampong' (village) scenes, or pastoral landscapes. Subsequently, the artists expanded their travels to other regions such as Sarawak and Java, drawing inspiration from their unique vernacular.
Two Maidens (Lot 3355) exemplifies Cheong Soo Pieng's mastery in merging figurative studies with a keen sense of modernism, while maintaining a poignant sense of localized authenticity. This painting of two beautiful young village girls sheltering under a tree is meticulously executed on silk. Their brightly patterned sarongs and the geometrical weave of the mat upon which they sit reflects local handicraft traditions, which is further accentuated by the way Cheong depicts the tight clusters of leaves framing the overall scene. This entire work is a refined and superb rendition of Cheong's Nanyang -style compositions.