PRINTCatalogue Note:
Liao Chi–chun was born in Fengyuan, Taichung in 1902. His family was poor and his mother passed away when he was young. After his father remarried, a thin and frail Liao could only rely on his older brother to look after and support him in attending school. In his youth, apart from “drawing” classes at school, he was also influenced by his mother’s embroidery and crafts such as gourd carving. Taiwanese outdoor opera at the local temple and the unique atmosphere of festivals continued to enrich Liao’s sense of aesthetics.
Liao Chi–chun’s artworks can be roughly divided into three phases. The works in the early phase were influenced by Japanese Pleinarisme. With exaggerated designs and muted colors the general feeling is often subdued. The style is similar to Post–Impressionism where the sense of self is emphasized and there is a touch of college–flair and country–flavor. The works from the middle phase are usually semi–abstract with gradually brighter colors. He also favored the sharp contrast between pink and light green or light blue in the fauvist style. In 1962 he was invited by the US government to continue his studies in art, and as a result of touring major galleries and museums, his horizon expanded and his style gradually changed. Liao was influenced by French Post–Impressionism, Fauvism, abstract art, and Americanism causing his style to become more independent and mature. His late phase was the zenith of his work. The artworks are semi–representational and semi–abstract. They usually depict local Taiwanese areas, with vivid colors and flowing brush–strokes that show the perfect harmony between art and life. The carefree, bright colors are still praised in the Taiwanese art world.
In the beginning of the 1970s, Liao Chi–chun visited Yehliu beach and did several paintings of the scenery. Each time the depiction was different. For an artist, going back to the same place to paint presents a new challenge each time. These paintings with Yehliu as the theme do have similarities in the layered mountain peaks, vibrantly–colored sea water, and colorful temples, houses and boats.
Taiwan is surrounded by the sea and the Northeast Coast is especially famous for its unique geological composition and beauty and is a well–known tourist destination because of its natural scenery. The local fishermen are devout followers of their local beliefs, so beside the ports there will often be a temple to protect them. One of the important color elements of Liao’s works come from the local art. Out of the many paintings of Yehliu, “Yehliu Scenery” uses lively colors to depict mountain peaks, houses, temples, the embankment, boats, and the vibrant sky and water. Green is used as the main color giving it the overall feel like that of Ming pottery with the red, green, and yellow of local temples streaking in between. The painting depicts the excitement and vitality of festival time found in fishing villages and is bursting with the rhythm and warmth of Taiwan. The flamboyant pink is a technique mastered by Liao to balance out the green in the background and reach harmony. Madam Wang Su Feng believed, “undoubtedly, pink is a symbol of gentleness and romance, when it accompanies other vibrant colors, it is wonderfully poetic.” Critics are of the opinion that the use of pink is the essence of Liao’s spirit.
Liao Chi–chun delighted in portraying mountains and water, especially the scenery of rivers and harbors. His works in depicting water scenery began in the 1950s with his Tamsui sketches. In the 1960s, returning home from America and Europe, his experiences and perspectives were greatly expanded. American abstract painting and the sophistication of Europe astounded Liao and his artworks reached the summit of their creativity from 1960–1970. After having experienced the splendor of Venice with the lively bustle of gondolas darting around in the canals, the creative atmosphere of freedom and harmony allowed him to transform all his experiences into a creative drive after his return to Taiwan and forge his own path. Whether it is Tamsui, Love River, Venice, Yehliu or his life’s last stop, Donggang, under Liao’s paintbrush, these locations renowned for their water scenery all depict a familiar vivacity and exuberance. His representative works from the late phase, including “Yehliu”, were the crystallization of the artist’s skills and maturity, and reveal the spirit’s transcendence to return to its purest state after life’s turmoil. Thus, the painting of each location does not hold the distinction of nationality or boundaries, or the conflict of cultures, what is presented to the audience is the Utopia deep in the mind of the artist. So, when the artist depicts Yehliu, he could have been thinking about Tamsui or remembering the canals of Venice. His most beautiful memories come out through his paintings.
Liao Chi–chun’s artworks can be roughly divided into three phases. The works in the early phase were influenced by Japanese Pleinarisme. With exaggerated designs and muted colors the general feeling is often subdued. The style is similar to Post–Impressionism where the sense of self is emphasized and there is a touch of college–flair and country–flavor. The works from the middle phase are usually semi–abstract with gradually brighter colors. He also favored the sharp contrast between pink and light green or light blue in the fauvist style. In 1962 he was invited by the US government to continue his studies in art, and as a result of touring major galleries and museums, his horizon expanded and his style gradually changed. Liao was influenced by French Post–Impressionism, Fauvism, abstract art, and Americanism causing his style to become more independent and mature. His late phase was the zenith of his work. The artworks are semi–representational and semi–abstract. They usually depict local Taiwanese areas, with vivid colors and flowing brush–strokes that show the perfect harmony between art and life. The carefree, bright colors are still praised in the Taiwanese art world.
In the beginning of the 1970s, Liao Chi–chun visited Yehliu beach and did several paintings of the scenery. Each time the depiction was different. For an artist, going back to the same place to paint presents a new challenge each time. These paintings with Yehliu as the theme do have similarities in the layered mountain peaks, vibrantly–colored sea water, and colorful temples, houses and boats.
Taiwan is surrounded by the sea and the Northeast Coast is especially famous for its unique geological composition and beauty and is a well–known tourist destination because of its natural scenery. The local fishermen are devout followers of their local beliefs, so beside the ports there will often be a temple to protect them. One of the important color elements of Liao’s works come from the local art. Out of the many paintings of Yehliu, “Yehliu Scenery” uses lively colors to depict mountain peaks, houses, temples, the embankment, boats, and the vibrant sky and water. Green is used as the main color giving it the overall feel like that of Ming pottery with the red, green, and yellow of local temples streaking in between. The painting depicts the excitement and vitality of festival time found in fishing villages and is bursting with the rhythm and warmth of Taiwan. The flamboyant pink is a technique mastered by Liao to balance out the green in the background and reach harmony. Madam Wang Su Feng believed, “undoubtedly, pink is a symbol of gentleness and romance, when it accompanies other vibrant colors, it is wonderfully poetic.” Critics are of the opinion that the use of pink is the essence of Liao’s spirit.
Liao Chi–chun delighted in portraying mountains and water, especially the scenery of rivers and harbors. His works in depicting water scenery began in the 1950s with his Tamsui sketches. In the 1960s, returning home from America and Europe, his experiences and perspectives were greatly expanded. American abstract painting and the sophistication of Europe astounded Liao and his artworks reached the summit of their creativity from 1960–1970. After having experienced the splendor of Venice with the lively bustle of gondolas darting around in the canals, the creative atmosphere of freedom and harmony allowed him to transform all his experiences into a creative drive after his return to Taiwan and forge his own path. Whether it is Tamsui, Love River, Venice, Yehliu or his life’s last stop, Donggang, under Liao’s paintbrush, these locations renowned for their water scenery all depict a familiar vivacity and exuberance. His representative works from the late phase, including “Yehliu”, were the crystallization of the artist’s skills and maturity, and reveal the spirit’s transcendence to return to its purest state after life’s turmoil. Thus, the painting of each location does not hold the distinction of nationality or boundaries, or the conflict of cultures, what is presented to the audience is the Utopia deep in the mind of the artist. So, when the artist depicts Yehliu, he could have been thinking about Tamsui or remembering the canals of Venice. His most beautiful memories come out through his paintings.