PRINTCatalogue Note:
Old Castle
At the age of 15, Yun Gee left his hometown in Guangdong, China for the U.S., yearning to become an artist. In the west coast city of San Francisco, he soon enrolled in the California School of Fine Arts (now the San Francisco Art Institute). It was his dedication, passion and intelligence that allowed him to flourish in the art world on those foreign shores.
During that time most Chinese who studied abroad chose to return home after graduation. Yun Gee, however, was in the minority who decided to stay in a foreign land, making his own way as an artist. At first Yun Gee developed in San Francisco, but in 1927 he accepted a five year residency in Paris. He continued to do shows that displayed his singular skill, but when the Great Depression hit, he returned to the United States. This time, however, he would not return to San Francisco, but chose instead to live in the art capital of the world, New York City. It was here that he continued his journey in art. In 1936 Yun Gee returned to Paris, but three years later World War II broke out, forcing his return to New York, where he lived out the remainder of his life.
In 1920 Yun Gee was heavily influenced by modernism, taken in by its colors and by the structure of cubism. Soon he developed the artistic concept of “diamondism”, yet at the same time not forgetting China’s rich cultural heritage. He immersed himself in the classics, infusing them within his personal creations. It was this unique combination that earned him accolades in both Paris and San Francisco. In his later works, the influence of cubism waned; the artist, with a firmer grasp of form and structure, shifted to a more expressive style. This is displayed in “Old Castle”. The entire painting springs forth from carefree brush strokes, both meticulous and mature, sketched out from tree trunk lines, showcasing Yun Gee’s mastery of oil painting.
The depiction of a darkened sky, cast over a mountain-top castle, layered with dark colors, adds rich depth to a treacherous yet kinetic landscape. The artist has chosen a landscape structure, similar to that seen in traditional Chinese scroll paintings, with fore-, middle- and background. Each tree in the foreground has its unique shape, with straight, fire-red branches that give off a dull light in the darkness. The pale yellow leaves of the middle tree are realized through brush strokes that are ordered in their chaos. The transparent oils, like flames flickering in the wind, bring focus amidst a dark palette, and add an eerie blaze to the atmosphere of the whole. Along one side of this composition is a tree with mysteriously dark blue, almost black, leaves, which exude a velvet-like luster. On the other side of the painting is another tree, nearly as tall as the whole painting, its thin branches piled on top of each other as yellow-green leaves play off each other in the night wind. Three distinct trees, with different postures and personalities, seem to each tell their own story. They sit together, on this dark night, silently waiting and watching the affairs of the world. In the middle-ground, the large mountainous stone towers precipitously above, making for a treacherous path to the castle; the castle sits atop the mountain, shrouded in darkness. The interplay of the air and sparks, swirling together, reminds one of the works of Vincent van Gogh (1853- 1890), with their skies ablaze.
Yun Gee’s innovative vision and painting style is hallmarked by his unique passion. His works are collected in many American art institutions, such as the Hirshhorn Museum and Sculpture Garden in Washington, D.C.; the Whitney Museum of Modern Art in New York; the Oakland Gallery in San Francisco; and at the Weatherspoon Art Gallery of the University of North Carolina. This is a testament to the importance of his work.
As an Asian living in the West, during the early part of the 20th century, facing racial tensions and incredible difficulties, Yun Gee was not held back. Instead, he studied art theory deeply and with overflowing creativity, and put forth amazing artistic achievements. From San Francisco, to Paris, to New York, he won accolades and praise. Although the realities of his environment in his later years lead to depression, this never diminished Yun Gee’s artistic accomplishments and groundbreaking contributions. He left treasures to the world, worthy of quiet contemplation, that ask us to rediscover the moving light contained within them.
At the age of 15, Yun Gee left his hometown in Guangdong, China for the U.S., yearning to become an artist. In the west coast city of San Francisco, he soon enrolled in the California School of Fine Arts (now the San Francisco Art Institute). It was his dedication, passion and intelligence that allowed him to flourish in the art world on those foreign shores.
During that time most Chinese who studied abroad chose to return home after graduation. Yun Gee, however, was in the minority who decided to stay in a foreign land, making his own way as an artist. At first Yun Gee developed in San Francisco, but in 1927 he accepted a five year residency in Paris. He continued to do shows that displayed his singular skill, but when the Great Depression hit, he returned to the United States. This time, however, he would not return to San Francisco, but chose instead to live in the art capital of the world, New York City. It was here that he continued his journey in art. In 1936 Yun Gee returned to Paris, but three years later World War II broke out, forcing his return to New York, where he lived out the remainder of his life.
In 1920 Yun Gee was heavily influenced by modernism, taken in by its colors and by the structure of cubism. Soon he developed the artistic concept of “diamondism”, yet at the same time not forgetting China’s rich cultural heritage. He immersed himself in the classics, infusing them within his personal creations. It was this unique combination that earned him accolades in both Paris and San Francisco. In his later works, the influence of cubism waned; the artist, with a firmer grasp of form and structure, shifted to a more expressive style. This is displayed in “Old Castle”. The entire painting springs forth from carefree brush strokes, both meticulous and mature, sketched out from tree trunk lines, showcasing Yun Gee’s mastery of oil painting.
The depiction of a darkened sky, cast over a mountain-top castle, layered with dark colors, adds rich depth to a treacherous yet kinetic landscape. The artist has chosen a landscape structure, similar to that seen in traditional Chinese scroll paintings, with fore-, middle- and background. Each tree in the foreground has its unique shape, with straight, fire-red branches that give off a dull light in the darkness. The pale yellow leaves of the middle tree are realized through brush strokes that are ordered in their chaos. The transparent oils, like flames flickering in the wind, bring focus amidst a dark palette, and add an eerie blaze to the atmosphere of the whole. Along one side of this composition is a tree with mysteriously dark blue, almost black, leaves, which exude a velvet-like luster. On the other side of the painting is another tree, nearly as tall as the whole painting, its thin branches piled on top of each other as yellow-green leaves play off each other in the night wind. Three distinct trees, with different postures and personalities, seem to each tell their own story. They sit together, on this dark night, silently waiting and watching the affairs of the world. In the middle-ground, the large mountainous stone towers precipitously above, making for a treacherous path to the castle; the castle sits atop the mountain, shrouded in darkness. The interplay of the air and sparks, swirling together, reminds one of the works of Vincent van Gogh (1853- 1890), with their skies ablaze.
Yun Gee’s innovative vision and painting style is hallmarked by his unique passion. His works are collected in many American art institutions, such as the Hirshhorn Museum and Sculpture Garden in Washington, D.C.; the Whitney Museum of Modern Art in New York; the Oakland Gallery in San Francisco; and at the Weatherspoon Art Gallery of the University of North Carolina. This is a testament to the importance of his work.
As an Asian living in the West, during the early part of the 20th century, facing racial tensions and incredible difficulties, Yun Gee was not held back. Instead, he studied art theory deeply and with overflowing creativity, and put forth amazing artistic achievements. From San Francisco, to Paris, to New York, he won accolades and praise. Although the realities of his environment in his later years lead to depression, this never diminished Yun Gee’s artistic accomplishments and groundbreaking contributions. He left treasures to the world, worthy of quiet contemplation, that ask us to rediscover the moving light contained within them.