PRINTILLUSTRATED:
Chu Teh-chun , Oeuvres récentes , Galerie Enrico Navara, Paris, 1998, color illustrated, p. 28
Chu Teh-chun , Darga Gallery, Bali; Galerie Enrico Navara, Paris, 2000, color illustrated, p. 9
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Lumière captive III
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1992 Oil on canvas 46 x 55 cm Signed lower right CHU TEH-CHUN in Chinese and English, dated 92 |
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Estimate
850,000 - 1,300,000 3,441,000 - 5,263,000 109,600 - 167,600
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Sold Price
1,200,000 4,800,000 154,839
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ILLUSTRATED:
Chu Teh-chun , Oeuvres récentes , Galerie Enrico Navara, Paris, 1998, color illustrated, p. 28
Chu Teh-chun , Darga Gallery, Bali; Galerie Enrico Navara, Paris, 2000, color illustrated, p. 9
Catalogue Note:
LUMIÈRE CAPTIVE III
CHU TEH-CHUN
After having experienced transitions in his abstract style, fame, and glory, Chu Teh-chun became even more comfortable handling his paint brush in the 1990s. Created in 1992, "Lumière captive III" gives a transparent sense of space, with scintillating crystal color blocks, a dynamism between light and shadow, and momentum from the flowing air. Within an immense chaos similar to the beginning of the world, the painting leaps across the boundary between the visible and the invisible. The artist fully expresses his ideas through his work and does so with such willful delight. Chu once said that his inspiration comes from nature. He is expert at using dynamic momentum and luxuriant color to express the eternal change of the magnificence of nature.The harmony he achieves in his brush between rhythm and time is simply fascinating.
Chu arrived in Paris in 1955 and experienced the city's abundance of contemporary art in person, especially the retrospective exhibition of Nicolas de Staël (1914-1955) at the Musée de l'Art Moderne de la Ville de Paris in 1956. It opened for him another window of free expression. The exhibition, moreover, became the wedge that would open the way to his artistic pinnacle. His early abstract works were filled with dark tones and strong tensions. However, clear color blocks, calligraphic line, and straightforward, solid composition have been the constant characteristics running through his works in different periods. A man of talent still needs a wise headhunter to discover his gift. After Chu entered the Paris art circle, he signed a six-year contract with Galerie Henriette Legendre, which was run by the guardian of modern art, Maurice Panier. The gallery successively introduced him to the world and made him an important member of the School of Paris. Receiving various invitations for exhibitions around the world, Chu enjoyed his success and led a happy life with his family. His style, meanwhile, became even more mature: his smooth brushstrokes and ethereal air surged and swirled with an imposing manner. On his canvas, he perfectly combined the artistic conception and the solid brushwork that are emphasized in Chinese poetry and painting.
At the age of 62, the Musée des Beaux Arts André Malraux in Le Havre, France, hosted his first large retrospective exhibition. Five years later, he returned to Taiwan and held an important retrospective exhibition at the National Museum of History. In 1992, the year he created "Lumière captive III," Chu traveled to the US and was deeply inspired by the Niagara Falls. Many of his works during this period are covered with a veil of vapor, light, pure and transparent. Shiny color spatters all over. The emitting light and the heavy, dark tones play together in a harmonious and powerful melody.
In 1997, Chu was elected as a member of l'Institut des Beaux-Arts de l'Académie Française. After 2000, in his eighties, the master's abundant creativity did not slacken. His free, artistic expression that seemed to be accumulated from past glories once again created a new dimension in abstract painting. Chu, who lives in France for almost sixty years, still maintains his Eastern soul and humanistic spirit. In the European art circle of "Lyrical Abstract" that flourished after WWII, he was praised for his unique personal style fused with his intrinsic grounding in traditional Chinese art, as well as for his solid painting skill. He is hailed as one of the best Chinese abstract masters in the 20th century.
Chu dedicates his life to art. He is focused and committed to art without distraction. Through his paintings, he shares with the viewers his life: the small pieces as well as the important chapters. Even though they are abstract, the surging emotions, powerful concepts, and his spiritual contemplation of the universe over and again lead the viewers to travel into his works and leave feeling deeply touched. The ancient philosopher Lao Tzu once said, "The most beautiful sound is soundless; the most beautiful image is without an image. " Within and through his works, Chu has expressed exactly this poetic and aesthetic concept to art lovers around the world.
CHU TEH-CHUN
After having experienced transitions in his abstract style, fame, and glory, Chu Teh-chun became even more comfortable handling his paint brush in the 1990s. Created in 1992, "Lumière captive III" gives a transparent sense of space, with scintillating crystal color blocks, a dynamism between light and shadow, and momentum from the flowing air. Within an immense chaos similar to the beginning of the world, the painting leaps across the boundary between the visible and the invisible. The artist fully expresses his ideas through his work and does so with such willful delight. Chu once said that his inspiration comes from nature. He is expert at using dynamic momentum and luxuriant color to express the eternal change of the magnificence of nature.The harmony he achieves in his brush between rhythm and time is simply fascinating.
Chu arrived in Paris in 1955 and experienced the city's abundance of contemporary art in person, especially the retrospective exhibition of Nicolas de Staël (1914-1955) at the Musée de l'Art Moderne de la Ville de Paris in 1956. It opened for him another window of free expression. The exhibition, moreover, became the wedge that would open the way to his artistic pinnacle. His early abstract works were filled with dark tones and strong tensions. However, clear color blocks, calligraphic line, and straightforward, solid composition have been the constant characteristics running through his works in different periods. A man of talent still needs a wise headhunter to discover his gift. After Chu entered the Paris art circle, he signed a six-year contract with Galerie Henriette Legendre, which was run by the guardian of modern art, Maurice Panier. The gallery successively introduced him to the world and made him an important member of the School of Paris. Receiving various invitations for exhibitions around the world, Chu enjoyed his success and led a happy life with his family. His style, meanwhile, became even more mature: his smooth brushstrokes and ethereal air surged and swirled with an imposing manner. On his canvas, he perfectly combined the artistic conception and the solid brushwork that are emphasized in Chinese poetry and painting.
At the age of 62, the Musée des Beaux Arts André Malraux in Le Havre, France, hosted his first large retrospective exhibition. Five years later, he returned to Taiwan and held an important retrospective exhibition at the National Museum of History. In 1992, the year he created "Lumière captive III," Chu traveled to the US and was deeply inspired by the Niagara Falls. Many of his works during this period are covered with a veil of vapor, light, pure and transparent. Shiny color spatters all over. The emitting light and the heavy, dark tones play together in a harmonious and powerful melody.
In 1997, Chu was elected as a member of l'Institut des Beaux-Arts de l'Académie Française. After 2000, in his eighties, the master's abundant creativity did not slacken. His free, artistic expression that seemed to be accumulated from past glories once again created a new dimension in abstract painting. Chu, who lives in France for almost sixty years, still maintains his Eastern soul and humanistic spirit. In the European art circle of "Lyrical Abstract" that flourished after WWII, he was praised for his unique personal style fused with his intrinsic grounding in traditional Chinese art, as well as for his solid painting skill. He is hailed as one of the best Chinese abstract masters in the 20th century.
Chu dedicates his life to art. He is focused and committed to art without distraction. Through his paintings, he shares with the viewers his life: the small pieces as well as the important chapters. Even though they are abstract, the surging emotions, powerful concepts, and his spiritual contemplation of the universe over and again lead the viewers to travel into his works and leave feeling deeply touched. The ancient philosopher Lao Tzu once said, "The most beautiful sound is soundless; the most beautiful image is without an image. " Within and through his works, Chu has expressed exactly this poetic and aesthetic concept to art lovers around the world.