Group Portraits-Lovers in the City

1996

Oil on canvas

181 x 121 cm

Signed lower right Che in Chinese, dated 1996
Signed on the reverse Lovers in the City in Chinese, size 100F, Hwang Ming-che in Chinese, dated 1996

Estimate
1,100,000 - 2,400,000
282,100 - 615,400
37,900 - 82,800
Sold Price
5,192,000
1,332,649
170,761

Ravenel Spring Auction 2008

020

Michell HWANG (HWANG Ming-che) (Taiwanese, b. 1948)

Group Portraits-Lovers in the City


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ILLUSTRATED:


Michelle Hwang, Shanghai Art Museum, Shanghai, 2001, color illustrated, p. 110

Styles of Radical Will- The Multiform Nineties: Taiwan's Contemporary Art, Soka Art Center, Taipei, 2007, color illustrated, p. 64

Catalogue Note:
Michell Hwang, first-generation splendid modern artist after WWII, is well-known in the Chinese artistic circle because of unique artistic terms, glossaries and paintings with dense color of the oriental demeanor and mystery. The art of Michell Hwang has experienced the countryside realist painting in 1970s, the humanistic leniency in 1980s, and the semi-abstractive, colorful metropolitan lifestyle in 1990s. After entering 2000, he has jumped from planes to the exploration for three-dimension. In recent years the paintings and sculptures of Michell Hwang have surpassed the boundary between the West and the East in terms of abstract art and image. The boundary of material and texture presents an unprecedented vision of coolness. Michell Hwang grew up in Yilan, Taiwan, well-known for the education on rigorous Confucian ethical code. This way, his works always deliver a kind of religious experience. In the "Group Portraits-Lovers in the City", the face that cannot be judged as human or animal and overlapping bodies carry the connotation of symbolism and expressionism. From his irst art show in 1985, Hwang's paintings have focused on the theme of man and woman – all the men take the form of sad king, oriented towards expressionism; the women have grown from young ladies in the early stage to a figure like the Virgin Mary, with the atmosphere from shy to loyal. Michell Hwang addresses parallel layout of high tone colors in his paintings and builds texture and layers by interweaving and overlapping descriptive strips. "Line" is from time to time the most highlighted, emphasized property in the art of Hwang for no matter plane or solid. These flying, dynamic, and yet vital lines constitute a unique flavor amidst ration and sensibility. The changes cultivated by splendid colors, quick or slow lines, thickness and thinness, turning, and other sharp contrasts compose an ever-changing, mysterious world.

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