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拍品专文
JANLBNAOM'CO]LF~~A]LDK bLneA@X@AWLONPX_C
Eiw (1992~mJ@~inxW x_ x_N])
1939~wOAbNV£A{NDqBNbpJFP@A~eNJ]N{G@jzoCb@vIWAJHeNAJU[A}FNa^NWSyJCL?ASy HbTAYRFN@DqPDqeoAoPaW{mHDDCPea}dE1930~Nge@ApNALv1940~NlHaDq@H@DDAiJbNee AmWRnNC
NWxDApuBBm@@MAHHeABwwiA@^hH
1939~9GzoAJgH^dl (1999~meJnX x_ xW 290)
mWRn(Lot 12) mUDoHT{A@~1939~GjzoA^weCeMR'AbNaBNIALlD~bPbMQC1937~CCzoAi}ADMJseZAbt@oe @~mRnAyINP'@RCLbmWRne{AOPRhPAP@meauhCPJmWRne@PZANaEAKQC
Yun Gee was somewhat unusual for his time, not only because he chose to become transnational, but also because of his desire to explore many cultures and embrace aspects of them in his paintingK He shares with many recent transnational ?migr? a unity of vision that in his paintings is more than just a blending or synthesis of different cultures.
Joyce Brodsky (Taipei Fine Arts Museum, The Art of Yun Gee, Taipei, Taiwan, 1999)
In the war-stricken China of 1939, art was used as a propaganda tool, and modernism movement was thus put to a halt. At that time, Yun Gee, who was in Paris actively pursuing avant-garde art, was faced with the outbreak of World War II. Based on his personal involvements and precise observations of Western avant-garde art, Yun Gee created his own unique artistic vocabularies as a response to the critical historic moment in time he was in. This was the period where he began to fuse Chinese cultural essence into his art to create paintings of profound thoughts based on his pursuit of the internal spiritual truth. He was able to extract and transform from Synchromism and Cubism and infused a sense of Surrealism to the subject matters of his paintings. Other painters of the same generation, such as Xu Beihong, were promoting the approach of realism in paintings to depict the situation China was in during the 1930's, and Lin Fengmian began to paint traditional theatre figures influenced by Cubism style in the 1940's. This demonstrates Yun Gee's progressiveness in the context of Chinese modern painting, and makes Nudes on Horseback (Lot 12) significant as an epoch-making declaration with elements from both the East and West.
As I have resolved the obstacles I've encountered with my art, such as lights, angles, and colours, and have formed my personal painting style with the date of my solo exhibition arranged, how could I abandon everything and go back?
Yun Gee's letter from Paris to his wife Helen in the USA, after World War II broke out in September 1939.
The inscription at the bottom of the watercolour confirms that the piece was completed in 1939, when England declared war on Germany during World War II. Due to the war, Yun Gee concluded his second stay in Paris and returned to New York. The liberating and harmonious rhythm of life in this painting is reflective of the setting the artist was in at that time, and is an example of his ultimate pursuit for external and internal peace. The heightened tensions of the Marco Polo Bridge Incident on 7 July 1937 led directly into full scale war in China. In response to the war, Yun Gee published comics in Chinese newspapers and in one of his oil paintings, War Dance, with the artwork illustrating invaders will ultimately be dancing to the rhythm of defeat. Nudes on Horseback, on the other hand, is a praise for life and freedom, and also shows the artist's genuine care for his homeland, although he was physically abroad. The inclusion of both Yun Gee's oil painting and watercolour for Nudes on Horseback marks the first time the two pieces have joined together since they were completed by the artist, which makes this auction especially rare and significant.
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FNW
GQ@AbFvW{CjZAo]]olTC1919~,BNVA}FN{Ni{Cp}dEBLvd~NaAbkAHNHi}XNgBAt_seRNCM Ao]P'PNaAhN@tDLmAPweNoiL{CJYALNiAP'Hs'ANbh}N^AoPC
beNDWAJ@d~NaAiPeAHh~meAeQ}@{C1920~NAJOamA~sCePALM'leNAb[{N,@DqPDqXCLHAv AXCmY@DqEJ[MeN_lIALoHbHsANM'mWRnC
[@AJKoHpP,A[AesMPPC@Dqw{DqP{AWupDqzvHDqBBT[MAJbmWRnAaNbmBAlHQCLFMAFuDqv AaXFFNC @~bWFsiB{NN] Bj,]iXAPdB}BV{NejvA@P,WC
An Art Pioneer from the East
In the early 20th Century, the political situation in China was challenged by many other international powers; however, the political climate also triggered an influx of reflective thoughts by Chinese intellectuals on the nation's inherent cultural traditions. The May Fourth Movement in 1919 also created great impacts for the promotion of Western thoughts in the art community at that time, which opened up the way for modernization with Chinese art. From which, many of the artists included in the first wave of study-abroad movement at that time, such as Xu Beihong and Lin Fengmian, became activists that vowed to use art to bring salvation to the nation upon their return to China and took on the revolutionary mission to integrate Chinese paintings with Western art forms. However, there were also artists like Sanyu that dedicated their lives to art by staying abroad to personally participate in avant-garde art movements happening in Europe at that time. Yun Gee belonged to the latter, and while he soaked up tremendous nourishments from the Western art world, he also firmly believed in the profoundness encompassed in the Chinese culture and being in the open and diverse artistic setting in the West, interactions and dialogues between the two cultures were thus made possible.
On the path of avant-garde art, Yun Gee was more daring to try different artistic subjects in his paintings than other Chinese artists also studying abroad at that time. Yun Gee's diverse approach to painting opened up a rugged path for his artistic career. He moved to San Francisco in the 1920's. During the early stage of his paining career, he focused on exploring and taking in elements of Western avant-garde art, and during his time at the California School of Fine Arts, he was introduced to Synchromism and Orphism. Yun Gee began compiling vibrant colour blocks and dissecting geometric shapes in his art. The focus of Synchromism is in colour relationships with subject matters secondary in importance, but it also became a start for Yun Gee to observe and experiment with Western avant-garde art. He was later able to successfully project a sense of natural rhythm in his artwork, Nudes on Horses, and was also able to break free from the confinements of different schools of thoughts and fuse together seamlessly art philosophies of the West and the East.
With an unrestricted approach for seeing art, like C?zanne, Yun Gee placed emphasis on the observation of forms and gave his painting a new sense of clarity and order. From the early stage of Synchromism combined with German Expressionism and Cubism to the unique Diamondism that would come to encompass the practical, spiritual, and intellectual aspects of painting, liberating colour application inspired by the West in Nudes on Horseback is ingeniously incorporated with calm and collective Taoist philosophy. Yun Gee's exhibited at the Salon des Ind?pendants in Paris, the Museum Of Modern Art New York , and the Metropolitan Museum of Art. Together with Western modern art masters, such as Picasso, Modigliani and O'Keeffe, Yun Gee became an art pioneer that resisted to be confined by any school of thoughts.
Eiw (1992~mJ@~inxW x_ x_N])
1939~wOAbNV£A{NDqBNbpJFP@A~eNJ]N{G@jzoCb@vIWAJHeNAJU[A}FNa^NWSyJCL?ASy HbTAYRFN@DqPDqeoAoPaW{mHDDCPea}dE1930~Nge@ApNALv1940~NlHaDq@H@DDAiJbNee AmWRnNC
NWxDApuBBm@@MAHHeABwwiA@^hH
1939~9GzoAJgH^dl (1999~meJnX x_ xW 290)
mWRn(Lot 12) mUDoHT{A@~1939~GjzoA^weCeMR'AbNaBNIALlD~bPbMQC1937~CCzoAi}ADMJseZAbt@oe @~mRnAyINP'@RCLbmWRne{AOPRhPAP@meauhCPJmWRne@PZANaEAKQC
Yun Gee was somewhat unusual for his time, not only because he chose to become transnational, but also because of his desire to explore many cultures and embrace aspects of them in his paintingK He shares with many recent transnational ?migr? a unity of vision that in his paintings is more than just a blending or synthesis of different cultures.
Joyce Brodsky (Taipei Fine Arts Museum, The Art of Yun Gee, Taipei, Taiwan, 1999)
In the war-stricken China of 1939, art was used as a propaganda tool, and modernism movement was thus put to a halt. At that time, Yun Gee, who was in Paris actively pursuing avant-garde art, was faced with the outbreak of World War II. Based on his personal involvements and precise observations of Western avant-garde art, Yun Gee created his own unique artistic vocabularies as a response to the critical historic moment in time he was in. This was the period where he began to fuse Chinese cultural essence into his art to create paintings of profound thoughts based on his pursuit of the internal spiritual truth. He was able to extract and transform from Synchromism and Cubism and infused a sense of Surrealism to the subject matters of his paintings. Other painters of the same generation, such as Xu Beihong, were promoting the approach of realism in paintings to depict the situation China was in during the 1930's, and Lin Fengmian began to paint traditional theatre figures influenced by Cubism style in the 1940's. This demonstrates Yun Gee's progressiveness in the context of Chinese modern painting, and makes Nudes on Horseback (Lot 12) significant as an epoch-making declaration with elements from both the East and West.
As I have resolved the obstacles I've encountered with my art, such as lights, angles, and colours, and have formed my personal painting style with the date of my solo exhibition arranged, how could I abandon everything and go back?
Yun Gee's letter from Paris to his wife Helen in the USA, after World War II broke out in September 1939.
The inscription at the bottom of the watercolour confirms that the piece was completed in 1939, when England declared war on Germany during World War II. Due to the war, Yun Gee concluded his second stay in Paris and returned to New York. The liberating and harmonious rhythm of life in this painting is reflective of the setting the artist was in at that time, and is an example of his ultimate pursuit for external and internal peace. The heightened tensions of the Marco Polo Bridge Incident on 7 July 1937 led directly into full scale war in China. In response to the war, Yun Gee published comics in Chinese newspapers and in one of his oil paintings, War Dance, with the artwork illustrating invaders will ultimately be dancing to the rhythm of defeat. Nudes on Horseback, on the other hand, is a praise for life and freedom, and also shows the artist's genuine care for his homeland, although he was physically abroad. The inclusion of both Yun Gee's oil painting and watercolour for Nudes on Horseback marks the first time the two pieces have joined together since they were completed by the artist, which makes this auction especially rare and significant.
?
FNW
GQ@AbFvW{CjZAo]]olTC1919~,BNVA}FN{Ni{Cp}dEBLvd~NaAbkAHNHi}XNgBAt_seRNCM Ao]P'PNaAhN@tDLmAPweNoiL{CJYALNiAP'Hs'ANbh}N^AoPC
beNDWAJ@d~NaAiPeAHh~meAeQ}@{C1920~NAJOamA~sCePALM'leNAb[{N,@DqPDqXCLHAv AXCmY@DqEJ[MeN_lIALoHbHsANM'mWRnC
[@AJKoHpP,A[AesMPPC@Dqw{DqP{AWupDqzvHDqBBT[MAJbmWRnAaNbmBAlHQCLFMAFuDqv AaXFFNC @~bWFsiB{NN] Bj,]iXAPdB}BV{NejvA@P,WC
An Art Pioneer from the East
In the early 20th Century, the political situation in China was challenged by many other international powers; however, the political climate also triggered an influx of reflective thoughts by Chinese intellectuals on the nation's inherent cultural traditions. The May Fourth Movement in 1919 also created great impacts for the promotion of Western thoughts in the art community at that time, which opened up the way for modernization with Chinese art. From which, many of the artists included in the first wave of study-abroad movement at that time, such as Xu Beihong and Lin Fengmian, became activists that vowed to use art to bring salvation to the nation upon their return to China and took on the revolutionary mission to integrate Chinese paintings with Western art forms. However, there were also artists like Sanyu that dedicated their lives to art by staying abroad to personally participate in avant-garde art movements happening in Europe at that time. Yun Gee belonged to the latter, and while he soaked up tremendous nourishments from the Western art world, he also firmly believed in the profoundness encompassed in the Chinese culture and being in the open and diverse artistic setting in the West, interactions and dialogues between the two cultures were thus made possible.
On the path of avant-garde art, Yun Gee was more daring to try different artistic subjects in his paintings than other Chinese artists also studying abroad at that time. Yun Gee's diverse approach to painting opened up a rugged path for his artistic career. He moved to San Francisco in the 1920's. During the early stage of his paining career, he focused on exploring and taking in elements of Western avant-garde art, and during his time at the California School of Fine Arts, he was introduced to Synchromism and Orphism. Yun Gee began compiling vibrant colour blocks and dissecting geometric shapes in his art. The focus of Synchromism is in colour relationships with subject matters secondary in importance, but it also became a start for Yun Gee to observe and experiment with Western avant-garde art. He was later able to successfully project a sense of natural rhythm in his artwork, Nudes on Horses, and was also able to break free from the confinements of different schools of thoughts and fuse together seamlessly art philosophies of the West and the East.
With an unrestricted approach for seeing art, like C?zanne, Yun Gee placed emphasis on the observation of forms and gave his painting a new sense of clarity and order. From the early stage of Synchromism combined with German Expressionism and Cubism to the unique Diamondism that would come to encompass the practical, spiritual, and intellectual aspects of painting, liberating colour application inspired by the West in Nudes on Horseback is ingeniously incorporated with calm and collective Taoist philosophy. Yun Gee's exhibited at the Salon des Ind?pendants in Paris, the Museum Of Modern Art New York , and the Metropolitan Museum of Art. Together with Western modern art masters, such as Picasso, Modigliani and O'Keeffe, Yun Gee became an art pioneer that resisted to be confined by any school of thoughts.