TANG GUO (b.1955), STONE TREES 2, 2008
ink on xuan paper, signed in Chinese and with six seals of the artist, 134 by 96cm Provenance: The Origo Collection. Michael Goedhuis. Published, Illustrated and Exhibited: Chinese Ink Painting Now, New York, 2010, p.122, where the author notes that Tang Guo was born in Wuxi, Jiangsu, in 1955, and studied at the Nanjing Art Academy and the Central Academy of Fine Arts, Beijing, from 1986 to 1989. Unlike many contemporary ink painters who are dedicated to revitalizing brush-and-ink painting, Tang has no intention of creating a new approach for the medium. For him, ink is just a tool to better express his artistic ideals. He is best known for making paper himself. Tang Guo is fascinated by the fact that paper is able to last for a great length of time, while what is painted on the paper does not. In the two works featured here, the interaction between the void and the solid is similar to the dialogue found in the art of Chinese woodblock engraving; the filled and empty spaces, emphasized by the energetic use of line, interact to produce images of electric vitality. Tang’s paintings retain an explicit foothold in Chinese literati painting in that the so-called scholar’s rock—ubiquitous in both the households and art of the traditional cultured elite—emerges as a theme whatever the ostensible subject. 2008年 汤国（生于 1955 年）， 石树2ink on xuan paper, signed in Chinese and with six seals of the artist, 134 by 96cm Provenance: The Origo Collection. Michael Goedhuis. Published, Illustrated and Exhibited: Chinese Ink Painting Now, New York, 2010, p.122, where the author notes that Tang Guo was born in Wuxi, Jiangsu, in 1955, and studied at the Nanjing Art Academy and the Central Academy of Fine Arts, Beijing, from 1986 to 1989. Unlike many contemporary ink painters who are dedicated to revitalizing brush-and-ink painting, Tang has no intention of creating a new approach for the medium. For him, ink is just a tool to better express his artistic ideals. He is best known for making paper himself. Tang Guo is fascinated by the fact that paper is able to last for a great length of time, while what is painted on the paper does not. In the two works featured here, the interaction between the void and the solid is similar to the dialogue found in the art of Chinese woodblock engraving; the filled and empty spaces, emphasized by the energetic use of line, interact to produce images of electric vitality. Tang’s paintings retain an explicit foothold in Chinese literati painting in that the so-called scholar’s rock—ubiquitous in both the households and art of the traditional cultured elite—emerges as a theme whatever the ostensible subject.
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Bid on this lot
ink on xuan paper, signed in Chinese and with six seals of the artist, 134 by 96cm Provenance: The Origo Collection. Michael Goedhuis. Published, Illustrated and Exhibited: Chinese Ink Painting Now, New York, 2010, p.122, where the author notes that Tang Guo was born in Wuxi, Jiangsu, in 1955, and studied at the Nanjing Art Academy and the Central Academy of Fine Arts, Beijing, from 1986 to 1989. Unlike many contemporary ink painters who are dedicated to revitalizing brush-and-ink painting, Tang has no intention of creating a new approach for the medium. For him, ink is just a tool to better express his artistic ideals. He is best known for making paper himself. Tang Guo is fascinated by the fact that paper is able to last for a great length of time, while what is painted on the paper does not. In the two works featured here, the interaction between the void and the solid is similar to the dialogue found in the art of Chinese woodblock engraving; the filled and empty spaces, emphasized by the energetic use of line, interact to produce images of electric vitality. Tang’s paintings retain an explicit foothold in Chinese literati painting in that the so-called scholar’s rock—ubiquitous in both the households and art of the traditional cultured elite—emerges as a theme whatever the ostensible subject. 2008年 汤国（生于 1955 年）， 石树2ink on xuan paper, signed in Chinese and with six seals of the artist, 134 by 96cm Provenance: The Origo Collection. Michael Goedhuis. Published, Illustrated and Exhibited: Chinese Ink Painting Now, New York, 2010, p.122, where the author notes that Tang Guo was born in Wuxi, Jiangsu, in 1955, and studied at the Nanjing Art Academy and the Central Academy of Fine Arts, Beijing, from 1986 to 1989. Unlike many contemporary ink painters who are dedicated to revitalizing brush-and-ink painting, Tang has no intention of creating a new approach for the medium. For him, ink is just a tool to better express his artistic ideals. He is best known for making paper himself. Tang Guo is fascinated by the fact that paper is able to last for a great length of time, while what is painted on the paper does not. In the two works featured here, the interaction between the void and the solid is similar to the dialogue found in the art of Chinese woodblock engraving; the filled and empty spaces, emphasized by the energetic use of line, interact to produce images of electric vitality. Tang’s paintings retain an explicit foothold in Chinese literati painting in that the so-called scholar’s rock—ubiquitous in both the households and art of the traditional cultured elite—emerges as a theme whatever the ostensible subject.
There is no condition report for this lot.
