Liao Jichun Liao Chi-Ch Un

Spring Auction 2013 Modern and Contemporary Art Lot 208 LIAO JICHUN (1902 - 1976) CHUN QIU PAVILION oil on board executed circa 1970s signed Jichun in Chinese on the lower right 16.5 x 19 cm. (6 1/2 x 7 1/2 in.) HK$280,000 - 480,000 US$36,000 - 62,000 More details ... FURTHER DESCRIPTION Liao Jichun entered the Tokyo School of Fine Arts in 1924, and was a pioneer in Western painting in Taiwan. He co-founded two of the most prominent art groups in Taiwan in the early years, including the Tai-Yang Arts Association. He also taught in the art department of the Taiwan Normal College, playing a key role in art education and in influencing the future development of art in Taiwan, going down in history as a highly respected painter of the older generation. His earlier works combined elements of Japanese Pleinairisme and different European painting styles. He later travelled to Europe and the USA, and was influenced by post-impressionism, fauvism and abstract painting in France, as well as abstract expressionism and other modern art concepts from the USA; his style took a drastic turn, becoming increasingly abstract in formation, warm and brilliant in colour tones, establishing a one-of-a-kind artistic language. In his later years, he integrated his earlier abstract style into a “subjective figural” style that was closer to fauvism, but showing more confidence in brushstrokes, less restrain in colours, richer emotions, and greater mastery in the use of tones and forms that did not stray far from reality. Chun Qiu Pavilion, for instance, depicts the scenic “Spring and Autumn Pavilions” at Lotus Lake in Kaohsiung, Taiwan, a true reflection of Liao Jichun’’’’ s style in his later years.

658 LIAO Chi-chun (Taiwanese, 1902 - 1976) Yehliu Scenery Oil on canvas 26.5 x 33.5 cm Signed lower right Chi–chun in Chinese and C.LIAO in English Liao Chi–chun was born in Fengyuan, Taichung in 1902. His family was poor and his mother passed away when he was young. After his father remarried, a thin and frail Liao could only rely on his older brother to look after and support him in attending school. In his youth, apart from “drawing” classes at school, he was also influenced by his mother’’’’s embroidery and crafts such as gourd carving. Taiwanese outdoor opera at the local temple and the unique atmosphere of festivals continued to enrich Liao’’’’s sense of aesthetics. Liao Chi–chun’’’’s artworks can be roughly divided into three phases. The works in the early phase were influenced by Japanese Pleinarisme. With exaggerated designs and muted colors the general feeling is often subdued. The style is similar to Post– Impressionism where the sense of self is emphasized and there is a touch of college–flair and country–flavor. The works from the middle phase are usually semi–abstract with gradually brighter colors. He also favored the sharp contrast between pink and light green or light blue in the fauvist style. In 1962 he was invited by the US government to continue his studies in art, and as a result of touring major galleries and museums, his horizon expanded and his style gradually changed. Liao was influenced by French Post– Impressionism, Fauvism, abstract art, and Americanism causing his style to become more independent and mature. His late phase was the zenith of his work. The artworks are semi–representational and semi– abstract. They usually depict local Taiwanese areas, with vivid colors and flowing brush–strokes that show the perfect harmony between art and life. The carefree, bright colors are still praised in the Taiwanese art world. In the beginning of the 1970s, Liao Chi–chun visited Yehliu beach and did several paintings of the scenery. Each time the depiction was different. For an artist, going back to the same place to paint presents a new challenge each time. These paintings with Yehliu as the theme do have similarities in the layered mountain peaks, vibrantly–colored sea water, and colorful temples, houses and boats. Taiwan is surrounded by the sea and the Northeast Coast is especially famous for its unique geological composition and beauty and is a well–known tourist destination because of its natural scenery. The local fishermen are devout followers of their local beliefs, so beside the ports there will often be a temple to protect them. One of the important color elements of Liao’’’’s works come from the local art. Out of the many paintings of Yehliu, “Yehliu Scenery” uses lively colors to depict mountain peaks, houses, temples, the embankment, boats, and the vibrant sky and water. Green is used as the main color giving it the overall feel like that of Ming pottery with the red, green, and yellow of local temples streaking in between. The painting depicts the excitement and vitality of festival time found in fishing villages and is bursting with the rhythm and warmth of Taiwan. The flamboyant pink is a technique mastered by Liao to balance out the green in the background and reach harmony. Madam Wang Su Feng believed, “undoubtedly, pink is a symbol of gentleness and romance, when it accompanies other vibrant colors, it is wonderfully poetic.” Critics are of the opinion that the use of pink is the essence of Liao’’’’s spirit. Liao Chi–chun delighted in portraying mountains and water, especially the scenery of rivers and harbors. His works in depicting water scenery began in the 1950s with his Tamsui sketches. In the 1960s, returning home from America and Europe, his experiences and perspectives were greatly expanded. American abstract painting and the sophistication of Europe astounded Liao and his artworks reached the summit of their creativity from 1960– 1970. After having experienced the splendor of Venice with the lively bustle of gondolas darting around in the canals, the creative atmosphere of freedom and harmony allowed him to transform all his experiences into a creative drive after his return to Taiwan and forge his own path. Whether it is Tamsui, Love River, Venice, Yehliu or his life’’’’s last stop, Donggang, under Liao’’’’s paintbrush, these locations renowned for their water scenery all depict a familiar vivacity and exuberance. His representative works from the late phase, including “Yehliu”, were the crystallization of the artist’’’’s skills and maturity, and reveal the spirit’’’’s transcendence to return to its purest state after life’’’’s turmoil. Thus, the painting of each location does not hold the distinction of nationality or boundaries, or the conflict of cultures, what is presented to the audience is the Utopia deep in the mind of the artist. So, when the artist depicts Yehliu, he could have been thinking about Tamsui or remembering the canals of Venice. His most beautiful memories come out through his paintings.

Lot Description LIAO CHI-CH'UN (LIAO JICHUN, Chinese, 1902-1976) Ferryboat signed in Chinese; signed 'C. LIAO' in Pinyin (lower left); titled, dated, signed and inscribed in Chinese (on the reverse) oil on canvas 49 x 60 cm. (19 1/4 x 23 5/8 in.) Painted in 1964 Provenance Formerly Collection of the artist's second son, Mr Liao Shou-wen Private Collection, Asia Literature Pacific Cultural foundation, Liao Chi-Chun, Taipei, Taiwan, 1981 (illustrated, p. 149; illustrate in black and white, p. 202). Ho Cheng Kuang (ed.), Artist Publishing Co. Ltd., Liao Chi-Chun, Taipei, Taiwan, 1981 (illustrated, p. 58). Lin Hsin-Yue (ed.), Artist Publishing Co. Ltd., Taiwan Fine Arts Series 4 - Liao Chi Chun, Taipei, Taiwan, 1992 (illustrated, plate 62, p. 105; illustrated in black and white, p. 228). Taipei Fine Arts Musedum, Liao Chi-Ch'un: Landscape in Spain (Reserach Exhibition from the Museum Collection I), Taipei, Taiwan, 1993 (illustrated, p. 23). Art & Collection Publishing Ltd., Guide to Asia Pacific Chiense Art Market, Taipei, Taiwan, 1997 (illustrated, front cover). Li Chin-Shian (ed.), Hsiungshih Arts Publishing Co. Ltd., Master Works By Taiwan First Generation Artists - Liao Chi Ch'un, Taipei, Taiwan, 1997 (illustrated, p. 119). Respective Art Center, The precursory Artist's Masterpieces of Taiwan II, Taipei, Taiwan, 1999 (illustrated, p. 35). Southern Taiwan Art Collectors Association, Taiwan Art (Part II), Taipei, Taiwan, 2000 (illustrated, pp. 42-43). Exhibited Taipei, Taiwan, The 30th Taiwan Provincial Fine Arts Exhibition, 1975. View Lot Notes › "I use simple and intense colours to create more vibrant sense of colouring through contrast and emphasis. At the same time, I place concern over the form and playfulness in the formation of lines. I am not describing am impression in a given period of time, but presenting the sense of coloring I had hoped for." - Liao Chi-Ch'un The technical foundation and concepts that Liao Chi-Ch'un gained during his early studies in Japan brought out in his work a rigorous emphasis on sketching and the use of bold color. Liao's individual creative style can therefore be seen as based on both his solid foundations in painting from life as well as his strong innate powers of observation. Since the end of 1950s, the artist started experimenting and exploring in the realm of abstract painting. His painting style underwent an obvious stylistic change since returning home from European and America in 1962. After the "Garden" series in 1970, Liao did not orient towards a more in-depth exploration in pure abstraction; instead, he decided to visualize his reinterpretation of "form" and "colour" through figurative landscapes. For the evening auction, Christie's will be presenting three more mature works by the artist in his later years. They demonstrate the artist's integration of subjective colours and abstract forms. Through works created from different periods, of diverse themes, one can see the unique thoughts, and distinct style, which Liao consistently displayed. Given a comprehensive observation on the development of Liao's art, the subject of the seascape was repeatedly explored and researched through realistic sketching style of his early period, with the use of the pink colour of fauvism in 1960s and the deconstruction of landscape that cross between semi-representation and abstract; In 1975, Liao, who was the judging committee member of the Taiwan Provincial Fine Arts Exhibition, entered the exhibition with Ferryboat (Lot 2018), demonstrating the artist's own pride in this work from this period. The breakthrough within the painting, in terms of form, colour and space, are concrete embodiments of the peak of his artistic career. Bright and highly saturated colours almost occupied the majority of Ferryboat, rather than adhering to the appearance and shape of objects in reality, he reconstructs the objects with his perception of nature, not only preserving the visual balance but also strengthening the sense of rhythm of the painting within a well-arranged composition. Details of boats in the foreground, the water, mountainous landscape on the other side of the bank, and the sky, have been broken into basic elements such as dots, lines and surfaces. As the lines are breaking apart the restriction of movement set up by the surfaces, Liao selectively traced the contour of the ferryboats and the scenes on the bankside. The images become blurrier as they recede into the distance. Therefore, although there are no changes in colour saturation, the inspired use of perspective creates a spatial sense with a strong depth of field. In terms of the use of colour, the cold and warm hues intersect with each other, the artist made use of softer neutral colours to balance out the possible conflicts between the primary colours wherered, yellow and blue meet. Not only were the warm colours applied as the bright area within the painting, pink lines are also used to illustrate the backlight coming from the top of the mountain. The subtle changes within the white colour emphasize the subjective feeling and stimulation brought about by the colours: the white and bluish tone of the sea creates the refreshing coolness of the water, while warm tone of the cream sky conveys the light and warmth of the sun. Colours are no longer dependent of the lines or surfaces, but are taking the predominant role according to the artist's intention, and complementing the brushstrokes and textures. As Liao surpassed the barrier of form, the expression of the main theme is rid of restriction and becomes freer. Not only is Ferryboat a perfect combination of theme and form, the painting is tightly orchestrated from its compositional arrangement to the dots, lines and surfaces. It stands for the artist's ideological mapping from figurative to abstraction, from deconstruction to reconstruction.

LIAO Chi-chun (Taiwanese, 1902-1976) PrintNortheast Coast, Taiwan 1973 Oil on canvas 46 x 53 cm Signed lower right CC LIAO in English Inscribed and signed on the reverse To my beloved son, Shu-chung, as a souvenir, painting by Liao Chi-chun 1973 With an inscription on the reverse written by Liao Shu-chung: Liao C. C. original painting, certified by his son, Shu-chung Liao 53x46cm 21x18", “To my lovely daughter, Ann Liao From Dad, Shu-chung” PROVENANCE: Collection of Liao Shu-chung, the forth son of the artist, USA Collection of Ann Liao, the daughter of Liao Shu-chung, USA Already one of the island's foremost oil painters during the Japanese era in Taiwan, Liao Chi-chun was an innovative and inventive artist whose style visibly matured over time, and who produced much of his best work in his later years. Some of his earlier work was shortlisted three times for the Teiten (Imperial Exhibition) and twice for the Shinbunten ("New Culture Exhibition"), as well as receiving many special awards at the Taiten (Taiwan Fine Arts Exhibition). During his studies at the Tokyo School of Fine Arts, from which he graduated in 1926, Liao was influenced by Impressionistic Academism and Post-Impressionist styles, in particular by the work of Japanese Fauvist Umehara Ryuzaburo (1888-1986). His experiences in Japan served as a catalyst for the creation of his own style, which would come to feature an expansive and free approach to color, form and composition. His early work shows a preoccupation with Taiwanese themes and landscapes, depicted in a relatively compact and straightforward fashion - which is not surprising if we consider his down-to-earth and rather introverted character. Even so, exaggerated and slightly distorted shapes are also part of his repertoire from early on, and while his colors are dense and powerful, they have a certain opaqueness about them that is reminiscent of Post-Impressionism and Expressionism. Around 1956, Liao became actively involved in art education, introducing a growing number of students to the art of oil painting and becoming one of the leaders of a new trend towards abstract art in Taiwan. His compositions became increasingly simple and terse, stunning audiences with a newfound boldness. Soon Liao began to experiment with pink, dark green and soft blue pastel tones, which he applied with bold strokes for maximum intensity and vividness, adumbrating the gradual birth of his very own brand of Fauvism. After returning from a tour of Europe and the United States in 1962, during which he soaked up the latest trends in Western art, his strokes, palette and entire artistic language moved even further beyond the restrains of conventional painting, while at the same time abandoning abstractionism for a sort of semi-abstract approach. Most critics agree that Liao produced much of his best work in the years between his return to Taiwan in the early sixties and his death in 1976. And most of the artist's best-known monikers, such as "Fauvist Master of Splendid Harmonies" (Wang Hsiu-hsiung), "The Gentle Fauvist" (Chang Yung-tsun), or the title of the 2006 National Palace Museum Exhibition, "Magician of Colors," were bestowed mainly in recognition of Liao's achievements in his later years. This lot, "Northeast Coast, Taiwan", was originally in the possession of the artist's fourth son, Liao Shu-chung, who spent much of his life in the United States, among other things teaching as a professor at the University of Michigan. Liao Shu-chung was also the original owner of the painting "Toledo in Spain", which is now part of the collection of the Taipei Fine Arts Museum. Liao Chi-chun was in the habit of giving many of his paintings - especially those he felt to represent his best work - to his sons and daughters, for which this lot is a good example: on the back of the painting one finds the words "For my dear son Shu-chung" written by the artist himself. Later, Liao Shu-chung gave the painting as a present to his daughter Ann. This lot depicts the captivating beauty of Taiwan's northeast coast. As an island, Formosa is blessed with many famous scenic spots and superb panoramas along its coastline, some of which appear with particular frequency in the artist's later work, including Turtle Island off the Ilan coast, the natural wonders of Yehliu and the picturesque area of the Tamsui estuary (both not far from Taipei), or Tungkang in Pingtung County. The various promontories, rock formations and fascinating geological features lured Liao back time and again, and became motifs of many of his sketches and paintings, including "Canal", "Scenery in Yehliu", "Turtle Island", and the present lot. "Northeast Coast, Taiwan" displays all the typical characteristics of the artist's late work: unpretentious style, vibrating colors, natural simplicity and warm nostalgia. Sky and sea are kept in harmonizing hues of pastel pink and blue, while a more variegated palette is reserved for the rugged coastline and outlying rocks. Together, the shades and tones employed are reminiscent of colorful temple festivals in rural Taiwan, adding considerably to the sense of unrestrained passion and powerful motion that pervades the whole composition. Art critic Wang Su-feng feels that the prevalence of pink tones in Liao Chi-chun's late work hints at the artist's genius: "Of course, the color pink symbolizes softness, gentleness, and lyricism, and by combining it with other bold and fresh tones, Liao creates a uniquely poetic atmosphere." No doubt, the spots and planes of pink or rose dappled among his landscapes perfectly express the artist's romanticism and young-at-heart view of the world.

LIAO CHI-CH'UN (LIAO JICHUN, Chinese, 1902-1976) Sketches of Landscape five crayon on paper, painted double-sided each: 24.5 x 34 cm. (9 5/8 x 13 3/8 in.) (5) (5) Private Collection, Asia Cathay Art Museum, Liao Chi-Ch'un, Taipei, Taiwan (illustrated, pp. 173, 179, 181, 183 & 185). Liao Chi-Ch'un's early years of study in Japan taught him basic concepts and techniques, and encouraged his study of strict realistic sketching techniques in combination with a bold use of colour. Among his works, landscape sketches can best demonstrate his unique artistic style. Included the fall auction this year, are five of his double-sided works, Sketches of Landscape, which cover some of his favorite sketching sites such as Mount Guanyin at Danshui, Yehliu, Venice, New Park (Taipei new park) etc. They are the original sketches for his oil painting works created in the 1970s, which are Venice, Pink Venice, Canal, The Morning in Yehliui. These sketches are significant as they serve as valuable resources in our understanding of Liao's use of abstract arrangement and expressive colouring. Ever since the 1960s, the colour pink has gradually gained a central role in Liao's paintings. Although Sketches of Landscape (Lot 1238) includes drawings made from different locations, the colour pink acts as a pivot in the varied compositions. The artist draws instinctively, following his instant impression as he sketch from life; and refuses to be bounded by the appearance and form of reality. Liao defies the limitations of spatiality, lighting and shadowing through his personal choice of colours, creating a layering depth of view out of a planar structure. Liao's choice of crayon as his sketching tool allows much vibrancy, when compared with the use of pencil or charcoal. The visual construction is accentuated by the characteristic crayoned lines, whether it be candid with certainty or airy in a flowing manner. Beside the variation in the density of lines, Liao also does away with the conventional layering of colours. Instead, he would smudge and smear with thin layers of colours; sometimes, he would apply the multi-ranging colours in an overlaying manner, creating a blending effect. The complex contour of the landscape is disseminated into fundamental elements such as dots, lines, and surface. Not only is this a careful consideration on the visual harmony, this treatment can also enhance the rhythmicality within the spatially well-balanced composition. Sketches of Landscape are not merely sketch pieces; embedded in Liao's initial structuring, expressive colouring and his application of detailed strokes, is the artist's earnest quest for true forms beneath matters and surfaces. Revealed on these pieces of sketches are a strong foundation and understanding accumulated from the artist's decades of devotion to landscape paintings. The wide-ranging forms of expressive landscapes serve as Liao's emotional repository, spelling out his dedicated pursuit of creating aesthetics.