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19.10.76

Zao Wou-Ki

Date : 1976

Support : Painting

Size : 85 x 70 cm

As of 1951, Zao Wou-ki « tends towards an imaginary, undecipherable expression”. In non figurative paintings, he mixes Chinese and European traditions, and states: “Cezanne taught me how to find myself, as a Chinese painter.” Using oil canvas, he makes series of abstract landscapes from where emanates a genuine poetry.
Henri Michaux wrote about them : “To display, and to conceal at the same time, to break the line and make it quiver, to draw the roundabouts of a stroll and the scribblings of the dreamy spirit, here is what Zao Wou-ki likes to do, and all of a sudden, with the same celebrating manner of the Chinese countrysides and villages, the painting appears, joyfully trembling and a bit funny, in a grove made of signs.” Since the 70’s, he has been working on a series of prints, Chinese ink calligraphies for which he uses Chinese traditional techniques learnt in China.



© Adagp, Paris, 1976

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The paintings by Zao Wou Ki present us with vast and colourful landscapes. Zao Wou Ki brings together the painting tradition of his homeland China and those of the West. As the artists says, “Cézanne helps me to bring out the Chinese tradition in my painting”. In his work, Zao Wou Ki has preserved the traditional Chinese taste for landscapes and signs, but gradually moves away from depicting reality, and towards more abstract and greatly poetic art. The title 19.10.76 is simply a reference to the date the artist felt the work had been completed. The vertical format of the work is reminiscent of Chinese calligraphy. It is further emphasised in the shape created by the colour that has run asymmetrically across the canvas. In this painting, the artist depicts vast and colourful fields. The bright yellow has been covered with a diluted brown and black. The colours used are similar to the natural elements such as the earth, rock, light and sun. There is also another influence of traditional Chinese art present in the work. Notice the visible strokes of the paintbrush. In some places the painter’s strokes are repeated several times. In the centre of the painting, the densest part, the painter has sketched lively marks that are reminiscent of the art of calligraphy the artist has studied. Between two different worlds, the work of Zao Wou Ki is open to those who allow themselves to be seduced by reflection and contemplation.