.jpg?w=1)
拍品专文
In his works, Chen Yifei steps away from the Soviet Socialist and Realist styles which were dominant in China for over half a century. During the age of globalization, Chen appropriated the 'photographic realist' techniques which originated from United States in the late 1960s. In his works, he combines modern art theories with the essence of Chinese cultural traditions, successfully bringing Chinese Realism to the international arena.
To interpret Chen's realistic works, we have to look beyond Chen's role as a Chinese artist and take into account his exposure to the American and European art world during his time of study in New York. Chen left China during the early stages of reform and liberalization. In 1980, he settled in New York to study. Although he received formal artistic training at the Shanghai Academy of Fine Arts, his education in New York and exposure to Western schools of thought became key to his later development. In the 1960s, abstract expressionism and minimalism flourished in the post-war American era. Photographic Realism emerged in the 1960s, challenging Art Informal movements.
Photographic Realism introduced photographic painting methods to the art world. It promoted the use of photography in the creation of paintings and imitation of illusionistic photographic effects. Taking a modern concept, it challenged the fluid boundaries between the "appearance" and "reality" (Fig. 1 & 2) One of the key artists of the movement, German artist Gerhard Richter, moved between photography and painting to create a new artistic voice in his paintings. His blurry images imply that the essence and truthful appearance of an object can never be fully represented by artists. (Fig. 3).
"Photographic realism" stimulated discussion about the relationship between figurative painting and photography. This laid fertile ground for Chen's development. Chen introduced a new approach to photographic realism. Inspired by elements of traditional Chinese painting, he inserts his subjective vision into his paintings. At the same time, his works imitate the versatility of photographs, achieved through the adjustment in focus, zoom and exposure to light. This is demonstrated in the Suzhou series (Fig. 4) where he captures the drizzling atmosphere in Jiangnan. In both the Suzhou series and Venice series, Chen injects a modern spirit to Realistic painting. He redefines Chinese Realist paintings by injecting traditional Chinese aesthetic notions, atmosphere and mood into his paintings. In 1984, The New York Times and Arts News magazine attempted to explain Chen's artistic style with the term 'romantic realism'. This term describes the deep emotional forces pervasive in Chen's works that movingly arouse aesthetic emotions.
Photography comes from a Greek word, which loosely denotes the idea of "writing with light". The control of light is a key aspect of Photographic Realism (Fig. 5). It builds on the Classical European Realism objective of mimicking the light effects of the natural world (Fig. 6). Through careful observation and analysis of light, Chen is able to capture the subtle changes of light on the environment. His works are evocative of cinematic light effects. His talented ability to understand, manipulate and maneuver light is revealed in his paintings, which encompass convincing optical illusions of reality.
Bridge of Light (Lot 17) demonstrates the artist's multi-faceted treatment of light. Positioned directly under sunlight, the classical white architecture and bridges occupy the brightest areas in the painting. Natural, outdoor light illuminate the sparkling river while the lamps on the crimson walls casts a weak yellow light.
Chen carefully constructs a composition based on light and shadow. In Suzhou Series, the skies often form the background whereas in Bridge of Landscape, the background is blocked by architecture. The waterways and bridge that connect the buildings on the two sides acts to pull in the viewer.
In the painting Chen creates a sharp depth of field in a photographic manner, to blur the background and draw attention to the foreground. He also duplicates the dreamy effects of salon photography. Exploring the different textures of light, the artist fashions a romantic atmosphere. There is a beauty in the contrast in the light effects. Chen applies colour with fine strokes, in a deliberate attempt to conceal traces of the brushstrokes. This produces a photo-like effect. By influencing our perception through obscuring detail, Chen achieves dramatic effects. Bridge of Light is part of Chen's Venice series. Inspired by his travels to Venice in 1989, Chen created a series of works located in Venice. Bridge of Light was exhibited and featured in the exhibition catalog at the Plum Blossoms Gallery in Hong Kong in 1992. In contrast to the darker, subdued tones found in his Suzhou series, he contrasts vibrant red, white, green, and blue colours in Bridge of Light. This is reflective of the warm, passionate tones that characterize Venice.
In both the Suzhou and Venice series, Chen chooses a historic city. He seems to be drawn to ancient architecture because it stands in between the past and present, and at the same time encapsulate how beauty can surpass temporal boundaries. Bridges are recurring motifs in Chen's paintings. They represent the bridge between the past and the present, between Chinese and Western culture, and the path leading up to Chen's artistic vision. According to the French philosopher Jean Baudrillard, "Simulated objects never really exist in reality." Chen's realist paintings do not only capture an instant moment of truth in the environment, they are expressive of his yearning for eternal beauty and wish to gain access to genuine emotions. Though painting, he is able to tap into the intangible, truthful inner feelings of man.
To interpret Chen's realistic works, we have to look beyond Chen's role as a Chinese artist and take into account his exposure to the American and European art world during his time of study in New York. Chen left China during the early stages of reform and liberalization. In 1980, he settled in New York to study. Although he received formal artistic training at the Shanghai Academy of Fine Arts, his education in New York and exposure to Western schools of thought became key to his later development. In the 1960s, abstract expressionism and minimalism flourished in the post-war American era. Photographic Realism emerged in the 1960s, challenging Art Informal movements.
Photographic Realism introduced photographic painting methods to the art world. It promoted the use of photography in the creation of paintings and imitation of illusionistic photographic effects. Taking a modern concept, it challenged the fluid boundaries between the "appearance" and "reality" (Fig. 1 & 2) One of the key artists of the movement, German artist Gerhard Richter, moved between photography and painting to create a new artistic voice in his paintings. His blurry images imply that the essence and truthful appearance of an object can never be fully represented by artists. (Fig. 3).
"Photographic realism" stimulated discussion about the relationship between figurative painting and photography. This laid fertile ground for Chen's development. Chen introduced a new approach to photographic realism. Inspired by elements of traditional Chinese painting, he inserts his subjective vision into his paintings. At the same time, his works imitate the versatility of photographs, achieved through the adjustment in focus, zoom and exposure to light. This is demonstrated in the Suzhou series (Fig. 4) where he captures the drizzling atmosphere in Jiangnan. In both the Suzhou series and Venice series, Chen injects a modern spirit to Realistic painting. He redefines Chinese Realist paintings by injecting traditional Chinese aesthetic notions, atmosphere and mood into his paintings. In 1984, The New York Times and Arts News magazine attempted to explain Chen's artistic style with the term 'romantic realism'. This term describes the deep emotional forces pervasive in Chen's works that movingly arouse aesthetic emotions.
Photography comes from a Greek word, which loosely denotes the idea of "writing with light". The control of light is a key aspect of Photographic Realism (Fig. 5). It builds on the Classical European Realism objective of mimicking the light effects of the natural world (Fig. 6). Through careful observation and analysis of light, Chen is able to capture the subtle changes of light on the environment. His works are evocative of cinematic light effects. His talented ability to understand, manipulate and maneuver light is revealed in his paintings, which encompass convincing optical illusions of reality.
Bridge of Light (Lot 17) demonstrates the artist's multi-faceted treatment of light. Positioned directly under sunlight, the classical white architecture and bridges occupy the brightest areas in the painting. Natural, outdoor light illuminate the sparkling river while the lamps on the crimson walls casts a weak yellow light.
Chen carefully constructs a composition based on light and shadow. In Suzhou Series, the skies often form the background whereas in Bridge of Landscape, the background is blocked by architecture. The waterways and bridge that connect the buildings on the two sides acts to pull in the viewer.
In the painting Chen creates a sharp depth of field in a photographic manner, to blur the background and draw attention to the foreground. He also duplicates the dreamy effects of salon photography. Exploring the different textures of light, the artist fashions a romantic atmosphere. There is a beauty in the contrast in the light effects. Chen applies colour with fine strokes, in a deliberate attempt to conceal traces of the brushstrokes. This produces a photo-like effect. By influencing our perception through obscuring detail, Chen achieves dramatic effects. Bridge of Light is part of Chen's Venice series. Inspired by his travels to Venice in 1989, Chen created a series of works located in Venice. Bridge of Light was exhibited and featured in the exhibition catalog at the Plum Blossoms Gallery in Hong Kong in 1992. In contrast to the darker, subdued tones found in his Suzhou series, he contrasts vibrant red, white, green, and blue colours in Bridge of Light. This is reflective of the warm, passionate tones that characterize Venice.
In both the Suzhou and Venice series, Chen chooses a historic city. He seems to be drawn to ancient architecture because it stands in between the past and present, and at the same time encapsulate how beauty can surpass temporal boundaries. Bridges are recurring motifs in Chen's paintings. They represent the bridge between the past and the present, between Chinese and Western culture, and the path leading up to Chen's artistic vision. According to the French philosopher Jean Baudrillard, "Simulated objects never really exist in reality." Chen's realist paintings do not only capture an instant moment of truth in the environment, they are expressive of his yearning for eternal beauty and wish to gain access to genuine emotions. Though painting, he is able to tap into the intangible, truthful inner feelings of man.