chuanxing in Chinese and dated 2004
PROVENANCE:
Christie’s Hong Kong, 25 May 2008, Lot 416
EXHIBITED:
Exhibition of Contemporary Oil Paintings, Hunan Institute of Art Research, Hunan, China, February 4, 2007
Rembrandt Peale (1778-1860), Portrait of Miss
Knapp, circa 1820, Collection of Milwaukee Art
Museum, USA.
Jan Van Eyck, Lucus, circa 1436, Collection of
the Frankfurt Städelsches Kunstinstitut, Germany.

The present lot Sacrifice of Youth No.3 (Lot 016) depicts a demure central women infused with an air of nostalgia. Zeng Chuanxing’s roots in Classical

Realism began to form when he studied at the Minzu University of China during the 1990s. His exquisitely rendered Realist work is utilized as a means to express his feelings and attitudes towards life. The present lot is integral as it was completed during the transitional period as the artist move towards his subsequent Paper Bride series.

He adopted the traditions of Nederlanden portraits traditions with a realist technique to portray the central model, the eyes and hands of the figure

is meticulously depicted with subtle and refined brushstrokes, as the artist believes that it is a window to one’s soul while simultaneously adds an air of feminine gracefulness and delicacy to the figure, thus enticing the viewer to ponders about the intimate emotions of the central woman. The harmonization of color tones can be observed from the vibrant red hue of the figure’s ensemble, as it greatly contrasts and complements with the dark brownish background, positioning the young female in a state of quiet solitude within a melancholic backdrop.

Moreover, her drapery red ensemble greatly complements and accentuates the serenity and the translucent complexion of the young female, resulting

in a composition that recalls the ancient iconic images of Virgin Mary in Northern Renaissance art. The oriental red of the drapery outfit is also traditionally symbolic of marriage and celebratory occasions, through which the artist metaphorically questions the institution of marriage and the stereotypical role of women. In this instant, the female form is used as a metaphor to illustrate the agony of isolation and the uncertainty of reality, magnificently illustrating one’s internal struggle and vulnerability within the context of modern China. The aesthetic of Zeng’s Sacrifice of Youth

No.3 lies in its composition and emphasis on an artistic approach that incorporates the classical realist painting with contemporary ideas, effectively

creating a visual dialogue that is uniquely his and entices the viewer to take part in the artist’s discourse.