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Lot Essay
Among 20th-century Chinese artists, Xu Beihong arguably stands out as the most adept at integrating his artistic endeavors with a deep sense of social responsibility. Stylistically, he applied the techniques of Western Realism to traditional Chinese media, expanding the creative possibilities within the Chinese painterly tradition. For Xu Beihong, brushwork, long considered the cornerstone of traditional Chinese painting, was no longer an autonomous element seeking prominence. Instead, he treated it as just another tool of expression, akin to charcoal sketches or oil painting. Free from the constraints of any specific medium, Xu Beihong expressed his artistic vision and spirit by blending and utilizing both Western and Chinese techniques.
Xu Beihong showed an early affinity for painting horses, gaining recognition for his equine works from the Gao brothers, Gao Qifeng and Gao Jianfu, as early as 1916. Initially, his approach drew from the watercolor techniques and painting methods of Giuseppe Castiglione. Though these early works were anatomically accurate, they lacked a distinctive artistic identity. In 1919, Xu traveled to Europe for further study, returning to China in 1927. While abroad, he immersed himself in the study of Realism and produced numerous sketches from life, often visiting zoos to study animals firsthand. Although he did not directly emulate the styles of his mentors, François Flameng and Fernand Cormon, the dynamic energy in their works left a lasting impression on him.
After returning to China, Xu Beihong's art shifted towards a more traditional Chinese aesthetic, with ink, color, and paper becoming his primary media. As he refined his personal style, his depiction of horses became increasingly distinctive. He employed swift brushstrokes to create bold, thick lines for the horses' bodies, used the "flying white" technique to render their flowing manes and tails, and applied precise, delicate lines to define their facial features and knees. This approach imbued his horses with both dynamism and individuality.
In 1933, Xu Beihong organized an exhibition of modern Chinese paintings in Paris, representing works by prominent artists such as Zhang Daqian and Qi Baishi, with the aim of promoting Chinese art. The exhibition garnered significant attention, with the catalogue being reprinted three times due to high demand. Following its success in Paris, the exhibition traveled to Belgium, Milan, Moscow, and other cities. In 1935, Xu Beihong, together with Zhang Daqian, who was then a professor at Central University, and their students, undertook a sketching expedition to Mount Huangshan. This trip, along with travels to the Li River and the Himalayas, served as a major source of inspiration for many of Xu's later landscape paintings. The present work was likely drawn from the impressions he gathered during this journey.
Xu Beihong showed an early affinity for painting horses, gaining recognition for his equine works from the Gao brothers, Gao Qifeng and Gao Jianfu, as early as 1916. Initially, his approach drew from the watercolor techniques and painting methods of Giuseppe Castiglione. Though these early works were anatomically accurate, they lacked a distinctive artistic identity. In 1919, Xu traveled to Europe for further study, returning to China in 1927. While abroad, he immersed himself in the study of Realism and produced numerous sketches from life, often visiting zoos to study animals firsthand. Although he did not directly emulate the styles of his mentors, François Flameng and Fernand Cormon, the dynamic energy in their works left a lasting impression on him.
After returning to China, Xu Beihong's art shifted towards a more traditional Chinese aesthetic, with ink, color, and paper becoming his primary media. As he refined his personal style, his depiction of horses became increasingly distinctive. He employed swift brushstrokes to create bold, thick lines for the horses' bodies, used the "flying white" technique to render their flowing manes and tails, and applied precise, delicate lines to define their facial features and knees. This approach imbued his horses with both dynamism and individuality.
In 1933, Xu Beihong organized an exhibition of modern Chinese paintings in Paris, representing works by prominent artists such as Zhang Daqian and Qi Baishi, with the aim of promoting Chinese art. The exhibition garnered significant attention, with the catalogue being reprinted three times due to high demand. Following its success in Paris, the exhibition traveled to Belgium, Milan, Moscow, and other cities. In 1935, Xu Beihong, together with Zhang Daqian, who was then a professor at Central University, and their students, undertook a sketching expedition to Mount Huangshan. This trip, along with travels to the Li River and the Himalayas, served as a major source of inspiration for many of Xu's later landscape paintings. The present work was likely drawn from the impressions he gathered during this journey.