
Michael Hughes
Vice President and Head of Department
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Vice President and Head of Department

Global Head, Chinese Paintings and Calligraphy
齊白石 蘆葦蝦趣圖 水墨紙本 立軸
PROVENANCE
Far East Fine Arts, San Francisco, California, April 1980
PUBLISHED
Gallis, Michael and Ma Xinle, Maike Gailesi Zhongguo hua shoucang: yige Xifang xuezhe de Zhonghua wenhua zhilü, Tianjin Renmin Meishu Chubanshe, 2019, pp.168-169
Erickson, Britta, Craig L. Yee, Jung Ying Tsao, and Jung May Lee Barrett, Modern Ink: The Art of Qi Baishi, Berkeley: The Mozhai Foundation, 2014, plate 34
Tsao Jung Ying, The Paintings of Xugu and Qi Baishi, University of Washington Press, 1993, pp. 252-254
EXHIBITED
The Carved Brush, Calligraphy Painting and Seal Carving By Qi Baishi, Asian Art Museum Chong-Moon Lee Center for Asian Art and Culture, San Francisco, CA, October 29, 2013-July 13, 2014
來源
舊金山遠東藝術畫廊,1980年4月
出版
馬欣樂主編,《邁克·蓋勒斯中國畫收藏:一個西方學者的中華文化之旅》,天津人民美術出版社,2019年,頁168-169
Erickson, Britta, Craig L. Yee, Jung Ying Tsao, and Jung May Lee Barrett, Modern Ink: The Art of Qi Baishi, Berkeley,The Mozhai Foundation, 2014年, 圖版34
曹仲英, The Paintings of Xugu and Qi Baishi, University of Washington Press, 1993年, 頁252-254
展覽
The Carved Brush, Calligraphy Painting and Seal Carving By Qi Baishi, 亞洲博物館李鐘文眼周藝術文化中心,舊金山,加州,2013年10月29日-2014年7月13日
An early work in the long career of Qi Baishi, the painting is signed Bingong, a hao the artist began using after 1906. Simply executed with an economy of brushstrokes, Qi Baishi describes a small shrimp, here accompanied by arching reeds. It is a subject that Qi Baishi would return to repeatedly over the decades that followed, at times composing large groups of crustaceans, whose legs and antennae cross and overlap symphonically. Always rendered solely in ink, Qi Baishi's compositions of shrimp became one of his best known subjects in later years. The present painting offers rare glimpse at the artist's initial approach.
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