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Lot Essay
The present lot is a rare example of Yu Fei’an work in a long scroll format. It depicts flowers from four seasons alongside each other to form an exceptional composition - peonies and bees in the spring, lotus and dragonflies in the summer, hibiscus, birds and butterflies in the autumn, and white plum blossoms in the winter.
After 1949, Yu experienced drastic changes as he took up official positions at the Central Academy of Fine Art and the Beijing Painting Institute. As he dedicated himself to art administration for his country and painting, he found a renewed motivation to devote himself to perfecting his fine brush flower-and-bird painting. During this time, he participated in many national art projects, in which he instilled new spirits in his art, with a brighter palette and newfound strengths in his expressions. The present lot, painted in 1957, is a classic composition of Yu’s post-1949 vibrant creations.
This work also witnesses Yu’s hard work and perseverance in his art practice and research. He inscribed on the painting that “I am not entirely satisfied with the work I painted last year. In this attempt, there is still room for improvement in specific areas for the next time.” While there is no certainty whether the version next year (1956) existed or the whereabouts if it does exist, one can appreciate his insistence in perfecting his art. Literary giant Lao She spoke of the artist as “he is not afraid of hardship because he will find a solution no matter how hard it is. He would paint the most difficult compositions. This is true creativity.”
After 1949, Yu experienced drastic changes as he took up official positions at the Central Academy of Fine Art and the Beijing Painting Institute. As he dedicated himself to art administration for his country and painting, he found a renewed motivation to devote himself to perfecting his fine brush flower-and-bird painting. During this time, he participated in many national art projects, in which he instilled new spirits in his art, with a brighter palette and newfound strengths in his expressions. The present lot, painted in 1957, is a classic composition of Yu’s post-1949 vibrant creations.
This work also witnesses Yu’s hard work and perseverance in his art practice and research. He inscribed on the painting that “I am not entirely satisfied with the work I painted last year. In this attempt, there is still room for improvement in specific areas for the next time.” While there is no certainty whether the version next year (1956) existed or the whereabouts if it does exist, one can appreciate his insistence in perfecting his art. Literary giant Lao She spoke of the artist as “he is not afraid of hardship because he will find a solution no matter how hard it is. He would paint the most difficult compositions. This is true creativity.”