1936 XU BEIHONG THREE GALLOPING HORSES PAINTING

拍品描述

Artist: Xu Beihong (19 July 1895 - 26 September 1953) Depicting three horses galloping across an open landscape, the present work exemplifies the dynamic equine imagery for which Xu Beihong achieved international acclaim. Executed with bold ink washes and expressive brushwork, the composition captures the movement, strength, and vitality of the animals through sweeping manes, flowing tails, and vigorous anatomical modeling.The artist's synthesis of traditional Chinese brush techniques and Western academic realism is particularly evident in the muscular forms and convincing sense of motion. The restrained palette of ink and light color further emphasizes the spirit and energy of the horses, a subject that became one of Xu Beihong's most enduring artistic themes and a symbol of perseverance, freedom, and national renewal. Ink and color on paper, Yisebiao mount, Horizontal Axis Painting (Sight): 79cm H x 100cm W Dated: In The BingZi year (1936) Signed/Seal(s): Signed, with a seal PROVENANCE: Acquired from a prominent collector, representing an important private collections. The collections presented and offered up to auctions from Lot 25 through Lot 136; and additional related documents and or manuscripts from Lot 137 to Lot 228. Wei Tao-Ming (Wei Daoming), (October 28, 1899 - May 18, 1978) was a prominent Chinese diplomat, statesman, and senior official of the Republic of China. Born in Jiangxi Province, he studied law in the United States and became active in the Nationalist government under Chiang Kai-shek. During the Second World War, Wei served as the Republic of China's Ambassador to the United States from 1942 to 1946, playing an important role in strengthening Sino-American relations during the Allied war effort. He later held several key government positions, including Governor of Taiwan Province (1947-1949), Ambassador to Japan, and Minister of Foreign Affairs of the Republic of China from 1966 to 1971. Wei remained an influential figure in Chinese diplomacy throughout the mid-twentieth century and was closely involved in the Republic of China's international affairs during a period of major political transition in East Asia. ARTIST BIO: Xu Beihong (19 July 1895 - 26 September 1953) was a Chinese painter born in Yixing, Jiangsu province. He was primarily known for his Chinese ink paintings of horses and birds and was one of the first Chinese artists to articulate the need for artistic expressions that reflected a modern China at the beginning of the 20th century. He was also regarded as one of the first to create monumental oil paintings with epic Chinese themes, a show of his high proficiency in an essential Western art technique. Xu began studying classic Chinese works and calligraphy with his father Xu Dazhang when he was six, and Chinese painting when he was nine. In 1915, he moved to Shanghai, where he made a living off commercial and private work. He traveled to Tokyo in 1917 to study arts. When he returned to China, he began to teach at Peking University's Arts school at the invitation of Cai Yuanpei. Beginning in 1919, Xu studied overseas in Paris at the Ecole Nationale Superieure des Beaux - Arts, where he studied oil painting and drawing. His travels around Western Europe allowed him to observe and learn Western art techniques. Xu Beihong still wrote regularly for the Daily University of Peking University that dealt with wider issues then just campus politics. Xu addressed issues of Art and Art History and in 1920 a university art journal called Painting Miscellany was published.Xu Beihong and Jiang Biwei. He and his partner Jiang Biwei came back to China in 1927 and, from 1927 to 1929, he gained a number of posts at institutions in China, including teaching at National Central University (now Nanjing University) in the former capital city Nanjing. In 1933, Xu organized an exhibition of modern Chinese painting that traveled to France, Germany, Belgium, Italy, and the Soviet Union. During World War II, Xu traveled to Southeast Asia, holding exhibitions in Singapore and India. All the proceeds from these exhibitions went to Chinese people who were suffering as a result of the war.

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