Walasse Ting (Ding Xiongquan, Chinese, 1929-2010) Autumn
Lot 818
Walasse Ting (Ding Xiongquan, Chinese, 1929-2010)
Autumn
Sold for HK$ 1,000,000 (US$ 129,022) inc. premium
Lot Details
Walasse Ting (Ding Xiongquan, Chinese, 1929-2010)
Autumn
Oil on canvas, framed
Signed and titled in English and dated 72 on the reverse
With a label "Museum of Art, Carnegie Institute, Pittsburgh Pennsylvania, 15213, FRESH AIR SCHOOL, Walasse Ting 'Autumn', Gulf Oil Corporation, Pittsburgh" on the reverse
177.5cm x 228.5cm (69¾in x 90in).

Footnotes

  • Provenance:
    Acquired directly from the artist by the previous owner
    Thence by descent to the present owner

    Exhibited: Fresh Air School, Exhibition of Paintings: Sam Francis, Joan Mitchell, Walasse Ting, Carnegie Institute Museum of Art, Pittsburgh, 1972-73

    丁雄泉 秋 油彩畫布 木框 一九七二年作

    背面簽名:Autumn ting 72
    背面標籤:"Museum of Art, Carnegie Institute, Pittsburgh Pennsylvania, 15213, FRESH AIR SCHOOL, Walasse Ting 'Autumn', Gulf Oil Corporation, Pittsburgh"

    來源:
    前收藏家直接得自畫家本人
    現由其子女繼承

    展覽:'Fresh Air School, Exhibition of Paintings: Sam Francis, Joan Mitchell, Walasse Ting',卡內基理工學院藝術博物館,匹茲堡,1972-73年

    Walasse Ting, or Ding Xiongquan, developed a distinct and absolutely unique style inspired by his art encounters in Paris and New York. He was first influenced by the modernist Western movement he saw while living in Paris, notably through meeting the artists of the the avant-garde group CoBrA, including artists such as Karel Appel, Asger Jorn, and Pierre Alechinsky. Walasse Ting was then still focusing on poetic abstraction. After moving to New York, he was profoundly inspired by the Abstract Expressionist movement that was flourishing then. His work remained inspired by the art of traditional Chinese ink painting, however Walasse Ting, then acquainted with American Pop artists, chose to use a bright, highly vivid, palette, foreign to the Chinese visual tradition.

    This painting, 'Autumn', is representative of this series of works, featuring bold dripping strokes. It is probably one of the later examples of this poetic abstract period and thus represents a tipping point in the artist's career. The influence of his friend Sam Francis is not only noticeable in the style of this work but also in the impact this friendship had on Walasse Ting's career. In 1972, both artists collaborated in an important show at the highly reputable Carnegie Institute Museum of Art in Pittsburgh, Pennsylvania. The works of Joan Mitchell were also included. Such a show, including such artists, really set Walasse Ting in the league of major artists of the 20th century and its importance in art historical terms is undeniable. Walasse Ting is the one who chose the exhibition title: 'Fresh Air School'. According to the exhibition catalogue, works in the show were inspired by Nature and the intended reference to the French 'Ecole de Barbizon' in the title is indeed very fitting. 'Autumn' is thus an extremely important work in Walasse Ting's career, illustrating the later abstract period of his work and clearly associating his artistic contribution with leading international artists, Joan Mitchell and Sam Francis.

    受到他在巴黎和紐約的藝術邂逅的啟發,丁雄泉開創了一個絕對獨特的風格。他住在巴黎時認識了前衛的CoBrA,其中成員包括Karel Appel,Asger Jorn和Pierre Alechinsky,繼而被所體驗的西方現代主義影響。當時的他還在專注於詩意的抽像畫。搬到紐約後,他深受蓬勃發展中的抽象表現主義所啟發。他作品的靈感依然來自傳統的中國水墨畫,但因為他當時開始熟悉美國波普藝術,便選擇採用對中國視覺傳統還很陌生的鮮豔、生動色調。

    〈秋〉具有大膽淋漓的筆觸,是這一系列的代表作。這件作品是藝術家採用詩意抽像風格的後期,從而代表了他職業生涯的轉折點。他的藝術家朋友Sam Francis不僅改變了丁雄泉的作品風格,他們的友誼更影響了他的職業生涯。兩位藝術家於1972年,在賓夕法尼亞州匹茲堡享有很高聲譽的卡內基學院藝術博物館,合作舉辦一個非常重要的展覽。 Joan Mitchell的作品也包括在內。這場展覽在藝術史中的重要無可否認,而丁雄泉也被放在資深著名藝術家的同一等級上。丁雄泉命名了展覽的標題'Fresh Air School'。據展覽目錄,出展作品的靈感來自大自然,所以標題引用法語的Ecole de Baribizon非常貼切。因此〈秋〉是丁雄泉的職業生涯中一個極為重要的作品,表現出後來的抽像風格,並明確地把他的藝術貢獻與國際著名的藝術家Joan Mitchell和Sam Francis聯繫起來。
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