ZHU Yuanzhi (Yun GEE,1906-1963) Animated... - Lot 138 - Crait + Müller

Lot 138
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Result : 40 000EUR
ZHU Yuanzhi (Yun GEE,1906-1963) Animated... - Lot 138 - Crait + Müller
ZHU Yuanzhi (Yun GEE,1906-1963) Animated landscape, 1926 Oil on cardboard panel. Signed lower right and dated lower left 2/1/26. 22,5 x 34 cm PROVENANCE: Me Charbonneaux, sale 14 December 1984, lot 90. According to M.Dauberville and the Bernheim-Jeune archives, this painting may have been included in a monographic exhibition of the painter in 1929 at the Galerie Bernheim-Jeune Born in China in 1906, Zhu Yuanzhi joined his father in the United States in 1921. He studied at the California School of Fine Arts and learned painting and drawing from Otis Oldfield, an artist trained in France and a follower of Cézannism. At the same time, Zhu Yuanzhi created a revolutionary school of Chinese art for Asian artists on the West Coast. He met Princess Achille Murat in San Francisco who decided to move to Paris in 1927. The Princess, who was a patron of the arts - we have her bust by Despiau and very elegant photographic portraits by Man Ray - integrated the Chinese artist into her circle of Parisian intellectuals, painters and poets. He painted a portrait of the merchant Ambroise Vollard and soon exhibited at the Salons des Indépendants in 1929, 1930 and 1939. In Paris he met the poetess Paule de Meusse, whom he married in 1929. Before his departure for France, Zhu Yuanzhi had already assimilated the plastic innovations introduced by the American avant-gardists of Synchronicity. This movement born in 1912, with Morgan Russell and Mac Donald-Wright, declines cubism under the influence of musical art, the forms being born on the canvas thanks to the materiality and the tactility of colors. Some Synchronicists then moved towards pure abstraction in a proximity with the Parisian Orphism of Delaunay. Our painting is to be compared with two well-known works by the artist, Park Bench 1 and Park Bench 2, dated 1927, which represent characters sitting on the benches of a public garden. Here, in our small, poetic painting, figuration is resisted: pure reds, greens and yellows dominate - in thick, highly textured materials - the variously oriented strokes like the notes of a musical score.
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