PRINTPROVENANCE:
Galerie Henriette Legendre, Paris
Private Collection, France
Galerie Henriette Legendre, Paris
Private Collection, France
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Composition No. 20
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1959 - 1960 Gouache and pastel on paperboard 56.5 x 38 cm Signed lower right CHU TEH-CHUN in Chinese and English |
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Estimate
3,600,000 - 4,600,000 930,000 - 1,189,000 120,400 - 153,800
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Catalogue Note:
Chu Teh-chun departed from Taiwan and arrived in Paris in May of 1955. In this beautiful city of art, one of Chu’s most influential and inspiring moments came when he visited a retrospective exhibition of Nicolas de Staël (1914–1955) at Musée de l’Art Moderne de la Ville de Paris in 1956. De Staël’s style was free and unconstrained with his strokes swimming between the tangible and the intangible. Chu was deeply inspired by him. With his mature artistic talent and technique, Chu developed his world-famous lyrical abstract style.
Created during 1959 and 1960, “Composition No. 20” is one of the artist’s early works created during a time in which his abstract style really began to take shape, and represents a pivotal piece in the course of the development of his artistic style. Zao Wou-ki was inspired by Paul Klee (1879–1940) and then went on to create and refine his own unique style. As for Chu, he extracted his distinctive artistic language through the influence of de Staël.
After World War II, the popularity of the trend of nonfigurative painting began to increase. In Europe, Hans Hartung (1904–1989), Pierre Soulages (1919– ) and Georges Mathieu (1921–2012) were the leading figures of “lyrical abstract” paintings. Chu’s focus on sensitivity and rhythm precisely expresses the style of lyrical abstract art. “Composition No. 20” displays thick color blocks and strokes in the artist’s early abstract style. With a calm composition, the artist’s contoured, strong, powerful black lines are seemingly emboldened with lively gestures. This work is indeed a highly representative piece from this period.
Chu’s first solo exhibition at Paris in 1958 was well received, and he soon became an important figure in Paris’ Avant-garde art scene. He also caught the attention of the “patron saint” of modern art, Maurice Panier, signing a six-year contract with him. Panier’s Galerie Henriette Legendre discovered many contemporary emerging stars and future art masters. The owner himself also organized the last exhibition of abstract art master Wassily Kandinsky (1866–1944) during his lifetime, which was exceptionally acclaimed. In addition, Panier had recommended de Staël’s works to the art circle before the artist became famous. To Chu, a young artist who adored de Staël’s art, Panier’s acknowledgement was tantamount to being recognized twice over.
Panier had an insightful comment on Chu’s works: “l'espace de Chu n'appartient pas a la perspective classique; c'est un espace, pourrait-on dire, multidimensional... Le choix subtil des couleurs et la disposition de petits carrés dans le tableau font naitre des modulations ou passé la lumiere. Les toiles sont a la fois espace et structure.” (Pierre Cabanne, Chu Teh-chun, Cercle d'Art, Paris, 1993, p. 54) He also said of Chu, “son point de depart est le plus souvent des paysages ou les strophes d’un poème qu’il traduit en langage plastique.” (Pierre Cabanne, Chu Teh-chun, Cercle d'Art, Paris, 1993, p. 54) A grand exhibition of Chu’s work at Galerie Henriette Legendre in February, 1960 also cemented his success in the Paris art world.
“Composition No. 20” was completed during the artist’s prime. Appreciating the delicate changes of the background carefully, one can see the flying black lines and the powerful brown, ocherous, and yellow colored blocks scattered around, which is unique in this period. From the depth of the picture the light seems to emit and penetrate through the surface, constructing a perfect composition with a seemingly triangular shape that forms both a stable visual center and a dynamic rising point. The profound scholarly accomplishment of Chu enriched his artistic performance. In the art collection market, the early works of an artist which already showcase a mature and developed style of the artist’s mastery are always the most highly sought-after targets. These kinds of works, however, are usually rare and difficult to obtain. Therefore, having such a precious work released on the market is indeed an excellent opportunity for collectors.
Created during 1959 and 1960, “Composition No. 20” is one of the artist’s early works created during a time in which his abstract style really began to take shape, and represents a pivotal piece in the course of the development of his artistic style. Zao Wou-ki was inspired by Paul Klee (1879–1940) and then went on to create and refine his own unique style. As for Chu, he extracted his distinctive artistic language through the influence of de Staël.
After World War II, the popularity of the trend of nonfigurative painting began to increase. In Europe, Hans Hartung (1904–1989), Pierre Soulages (1919– ) and Georges Mathieu (1921–2012) were the leading figures of “lyrical abstract” paintings. Chu’s focus on sensitivity and rhythm precisely expresses the style of lyrical abstract art. “Composition No. 20” displays thick color blocks and strokes in the artist’s early abstract style. With a calm composition, the artist’s contoured, strong, powerful black lines are seemingly emboldened with lively gestures. This work is indeed a highly representative piece from this period.
Chu’s first solo exhibition at Paris in 1958 was well received, and he soon became an important figure in Paris’ Avant-garde art scene. He also caught the attention of the “patron saint” of modern art, Maurice Panier, signing a six-year contract with him. Panier’s Galerie Henriette Legendre discovered many contemporary emerging stars and future art masters. The owner himself also organized the last exhibition of abstract art master Wassily Kandinsky (1866–1944) during his lifetime, which was exceptionally acclaimed. In addition, Panier had recommended de Staël’s works to the art circle before the artist became famous. To Chu, a young artist who adored de Staël’s art, Panier’s acknowledgement was tantamount to being recognized twice over.
Panier had an insightful comment on Chu’s works: “l'espace de Chu n'appartient pas a la perspective classique; c'est un espace, pourrait-on dire, multidimensional... Le choix subtil des couleurs et la disposition de petits carrés dans le tableau font naitre des modulations ou passé la lumiere. Les toiles sont a la fois espace et structure.” (Pierre Cabanne, Chu Teh-chun, Cercle d'Art, Paris, 1993, p. 54) He also said of Chu, “son point de depart est le plus souvent des paysages ou les strophes d’un poème qu’il traduit en langage plastique.” (Pierre Cabanne, Chu Teh-chun, Cercle d'Art, Paris, 1993, p. 54) A grand exhibition of Chu’s work at Galerie Henriette Legendre in February, 1960 also cemented his success in the Paris art world.
“Composition No. 20” was completed during the artist’s prime. Appreciating the delicate changes of the background carefully, one can see the flying black lines and the powerful brown, ocherous, and yellow colored blocks scattered around, which is unique in this period. From the depth of the picture the light seems to emit and penetrate through the surface, constructing a perfect composition with a seemingly triangular shape that forms both a stable visual center and a dynamic rising point. The profound scholarly accomplishment of Chu enriched his artistic performance. In the art collection market, the early works of an artist which already showcase a mature and developed style of the artist’s mastery are always the most highly sought-after targets. These kinds of works, however, are usually rare and difficult to obtain. Therefore, having such a precious work released on the market is indeed an excellent opportunity for collectors.