.jpg?w=1)
Lot Essay
'Chinese artists paint with their heart; Western artists, their eyes.' - George Chann
Christie's Hong Kong is honoured with the privilege to showcase nine of George Chann's most notable pieces, spanning nearly half a century, from 1940 to 1980. They compellingly attest to Chann's extraordinary journey in merging Eastern aesthetics with Western Realism and Expressionism. The artistic success Chann achieved on the West Coast of North America paralleled that of Zao Wou Ki and Chu Teh-Chun, two other Chinese artists, who began exploring abstraction in Europe in the mid and late 1950s. All three artists faithfully expressed the artistic directions of their time whilst also searching for meaning in traditional aesthetics, which inspired them to find new interpretations. They are prominent overseas Chinese artists and crucial to the development of 20th century abstract art.
Born in 1913 in Zhongshan County, Guangdong Province, George Chann immigrated with his family to California at the age of 12. In 1934, he began studying painting at the Otis Art Institute in Los Angeles. Roland McKinney , director of Los Angeles County Museum of Art recognised Chann's artistic gift, and organised a solo exhibition for this emerging artist in September, 1942, making him the first-ever feature Chinese artist at this museum. Figurative landscapes constituted a major part in Chann's works between 1940's and early 50's, and they emanated a strong Social Realism inclination. His style was rich with Impressionism and Post-Impressionism influences. Winter Sky (Lot 199) is an example of such, filled with understated, soft hues and streamlined execution. World War II was raging at the time, and the greens in the composition seemed to bid farewell to winter, and pulse with anticipation for spring. Ladies in the Market (Lot 198), painted around 1950's, captured the dance of light on different objects and characters with Impressionist techniques.
Chann returned to China sometime between 1947 and 1949, and polished his craft as he befriended notable Chinese painters Huang Junbi and Zhao Shao'ang. Their friendship inspired him to regard traditional Chinese art with a new eye and rekindled his passion for the craft. In the 1950's, Abstract Expressionism became the mainstream art form in the United States, and it prompted Chann to consider the new direction for his creative energies. Abstract Fishing Village (Lot 197), painted during 1960's, bordered on a drastic departure from figurative art. It combines the form of abstract art with conventional mediums to depict the faint ripples of a boat on the river. Compared with Mark Tobey and Jackson Pollock's full-on, voluminous compositions (fig. 1), Chann's approach resonated with the interdependent forces of yin and yang, the complementary changes of full and empty. Meanwhile, Chann put his calligraphic finesse in contouring into full play, keeping the composition in line with the Six Principles of Chinese Painting by Xie He of Southern Qi Dynasty: 'Spirit Resonance, Bone Method, Correspondence to the Object, Suitability to Type, Division and Planning, and Transmission by Copying.'
Chann continued his explorative journey into Expressionism and Chinese landscapes in 1970's. The heart of Abstract Swath (Lot 193) is similar to Convergence by Jackson Pollock; the difference is Chen's inspiration came from the inscriptions on ancient Chinese bronze ware (fig. 2) and the calligraphic 'text on metal.' He also left two translucent margins on the top and bottom of the composition and the effect is similarly powerful as Zao Wou-ki and Chu Teh-chun's interpretation of light penetrating the surface. The other two pieces, Mountains with Calligraphy (Lot 194) and Boats (Lot 200) feature conventional Chinese painting mediums, yet the Western Expressionistic brushwork has replaced the formulaic applications of axe-cut, hemp-fibre, and rain dot. Boats, in particular, portrays the magnificent interplay of water and skies on a horizontal hand scroll in bold, strong strokes. The majestic composition is also delicately balanced by Chann's exquisite depiction of tiny hamlets.
In 1980's, Chann experienced another breakthrough in his creative approach and use of mediums. The two pieces featured in this auction, Artist's Floor (Lot 201) and Black and White Calligraphy (Lot 195) are such an example. Chann tore off calligraphic rubbings of stone inscriptions, collaged and laid them upon the canvas, and continued writing on the layers with paint, ink, and charcoal. Next, he pressed, rubbed, and ground on the canvas to stabilise the characters, then broke them apart, to attain a sophisticated and sumptuous feast for the eyes. The effect is akin to the soft finish on weather-toughened stele inscriptions and the patina of age on bronze ware; the mood is both striking and evocative. Chann's apprentice, Huang Chang-Ying recalled that his master was a pioneer in establishing Chinese characters as an independent creative element, and infusing them into his pieces. Even more noteworthy is that Chann launched a collection of cityscapes featuring a spectrum of blues at the later stage of his career. Hong Kong Cityscape (Lot 196) mesmerises the viewer with its cool and warm colours and vivacious silhouettes that accentuate the city's cement jungle, bustling crowd, and vibrant skyline.
Christie's Hong Kong is honoured with the privilege to showcase nine of George Chann's most notable pieces, spanning nearly half a century, from 1940 to 1980. They compellingly attest to Chann's extraordinary journey in merging Eastern aesthetics with Western Realism and Expressionism. The artistic success Chann achieved on the West Coast of North America paralleled that of Zao Wou Ki and Chu Teh-Chun, two other Chinese artists, who began exploring abstraction in Europe in the mid and late 1950s. All three artists faithfully expressed the artistic directions of their time whilst also searching for meaning in traditional aesthetics, which inspired them to find new interpretations. They are prominent overseas Chinese artists and crucial to the development of 20th century abstract art.
Born in 1913 in Zhongshan County, Guangdong Province, George Chann immigrated with his family to California at the age of 12. In 1934, he began studying painting at the Otis Art Institute in Los Angeles. Roland McKinney , director of Los Angeles County Museum of Art recognised Chann's artistic gift, and organised a solo exhibition for this emerging artist in September, 1942, making him the first-ever feature Chinese artist at this museum. Figurative landscapes constituted a major part in Chann's works between 1940's and early 50's, and they emanated a strong Social Realism inclination. His style was rich with Impressionism and Post-Impressionism influences. Winter Sky (Lot 199) is an example of such, filled with understated, soft hues and streamlined execution. World War II was raging at the time, and the greens in the composition seemed to bid farewell to winter, and pulse with anticipation for spring. Ladies in the Market (Lot 198), painted around 1950's, captured the dance of light on different objects and characters with Impressionist techniques.
Chann returned to China sometime between 1947 and 1949, and polished his craft as he befriended notable Chinese painters Huang Junbi and Zhao Shao'ang. Their friendship inspired him to regard traditional Chinese art with a new eye and rekindled his passion for the craft. In the 1950's, Abstract Expressionism became the mainstream art form in the United States, and it prompted Chann to consider the new direction for his creative energies. Abstract Fishing Village (Lot 197), painted during 1960's, bordered on a drastic departure from figurative art. It combines the form of abstract art with conventional mediums to depict the faint ripples of a boat on the river. Compared with Mark Tobey and Jackson Pollock's full-on, voluminous compositions (fig. 1), Chann's approach resonated with the interdependent forces of yin and yang, the complementary changes of full and empty. Meanwhile, Chann put his calligraphic finesse in contouring into full play, keeping the composition in line with the Six Principles of Chinese Painting by Xie He of Southern Qi Dynasty: 'Spirit Resonance, Bone Method, Correspondence to the Object, Suitability to Type, Division and Planning, and Transmission by Copying.'
Chann continued his explorative journey into Expressionism and Chinese landscapes in 1970's. The heart of Abstract Swath (Lot 193) is similar to Convergence by Jackson Pollock; the difference is Chen's inspiration came from the inscriptions on ancient Chinese bronze ware (fig. 2) and the calligraphic 'text on metal.' He also left two translucent margins on the top and bottom of the composition and the effect is similarly powerful as Zao Wou-ki and Chu Teh-chun's interpretation of light penetrating the surface. The other two pieces, Mountains with Calligraphy (Lot 194) and Boats (Lot 200) feature conventional Chinese painting mediums, yet the Western Expressionistic brushwork has replaced the formulaic applications of axe-cut, hemp-fibre, and rain dot. Boats, in particular, portrays the magnificent interplay of water and skies on a horizontal hand scroll in bold, strong strokes. The majestic composition is also delicately balanced by Chann's exquisite depiction of tiny hamlets.
In 1980's, Chann experienced another breakthrough in his creative approach and use of mediums. The two pieces featured in this auction, Artist's Floor (Lot 201) and Black and White Calligraphy (Lot 195) are such an example. Chann tore off calligraphic rubbings of stone inscriptions, collaged and laid them upon the canvas, and continued writing on the layers with paint, ink, and charcoal. Next, he pressed, rubbed, and ground on the canvas to stabilise the characters, then broke them apart, to attain a sophisticated and sumptuous feast for the eyes. The effect is akin to the soft finish on weather-toughened stele inscriptions and the patina of age on bronze ware; the mood is both striking and evocative. Chann's apprentice, Huang Chang-Ying recalled that his master was a pioneer in establishing Chinese characters as an independent creative element, and infusing them into his pieces. Even more noteworthy is that Chann launched a collection of cityscapes featuring a spectrum of blues at the later stage of his career. Hong Kong Cityscape (Lot 196) mesmerises the viewer with its cool and warm colours and vivacious silhouettes that accentuate the city's cement jungle, bustling crowd, and vibrant skyline.