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ZAO WOU-KI (1920-2013)

Zao Wou-Ki was born in Peking the first of February in 1920. A few months after, his family moved to Shanghai. The family T’chao, belongs to the ancient dynasty of Song (10-13 after J.C.). T’chao Wou-Ki – Wou-Ki was his first name – took the pseudonym of Zao Wou-Ki when he arrived in France. In 1967, he participated in the French pavilion during the International Exhibition of Montreal in Canada. He then travelled to North America before he stayed in Mexico with the painter Ruffino Tamayo and his wife Olga, who had met in 1950. As a part of the Music Festival in Salzburg, Zao Wou-Ki directed the summer seminar that had been created by the painter Oskar Kokoschka. 

Zao Wou-Ki participated in several group exhibitions : “The non-figurative painting of the second school of Paris”, 1946-1962. “101 masterpieces from the Gandur Foundation for Art” at the Rath Museum in Geneva and “Pictorial abstraction, 1949-1969 : Works selected from the Guggenheim collection” at the Guggenheim Museum in Bilbao. The exhibition “Chinese artists in Paris, 1920-1958. From Lin Fengmian to Zao Wou-Ki” organized at the Cernuschi Museum in Paris permitted to trace the beginning of Zao Wou-Ki in Paris, in the logic of the exchanges between France and China in the 20th century.

“I like that people wander in my paintings, just as I wander myself while making them”, Zao Wou-Ki liked to say.

赵无极从东至西 走向世界 无限延伸

近年来,华裔法国艺术家赵无极的作品在拍卖市场的价格一路攀升,不仅成为了亚洲艺术史上最为重量级的艺术家之一,同时也是亚洲艺术市场迅速增长的标志。他以抒情,抽象的方式游走在两种文化中,终寻得自己在其中的位置,大气磅礴的作品跃然纸上。也正如赵无极在《自传》中道:“历史就是这样把我推向了遥远的法国,让我在那里生根安居,然后又让我重返中国,使我内心最深处的追求终有归宿”。库尔泰尼画廊自建立以来,持续关注抒情抽象主义的作品,其中自然包括了赵无极的作品,详情请咨询库尔泰尼画廊。

赵无极,这个名字由他的祖父赵绍甫选自《老子》中的无形无象的宇宙观,“宇宙太初,元气始萌,混混沌沌,一物未有——没有形象,没有寓意,却带着一股鸿蒙之气和摧枯拉朽的精神力量”。人如其名,画如其人,赵无极的作品与他的名字间也存在着千丝万缕的联系。吉查德·梅利(Guichard Meili,法国诗人和艺术评论家)曾说,“他自然而然地将非常古老的中国传统向抽象的方向又延伸了一步”。赵无极笔触有力,色彩变幻莫测,把中国哲学通过西方绘画的技巧淋漓尽致的展示在画布上。

1985年,赵无极在自己的启蒙母校浙江美术学院(现中国美术学院)举办为期一个月的讲习班,讲授自己的艺术思想与绘画技艺,他希望学生被提高的不仅仅是绘画技艺,而是唤醒学生创作的独立意识,成为真正的自由创作的艺术家。

在讲习班上,赵无极分享过自己对艺术的观点,选其中几条分享给您,希望对您多一些角度来理解赵无极的作品。“画面要呼吸”:中国画在透视学角度来看,叫“散点透视”,在观看作品的时候,眼睛要跟随着画面里的物体而移动。画面里的物体有疏有密,这样的变化就跟人在呼吸一样,画面也需要呼吸。“绘画的特点会随着个人的观念与境遇而变化”:这个观点很好解读,环境,生活状态,情绪等因素都会对创作产生影响。“画到一定程度,功夫应该忘掉”:当绘画技艺已经很高超的时候,绘画功夫已藏于无形,此时,作为创作重点应该放在对创作主题的研究。

纵观赵无极一生的创作,在不同的阶段他有不同的风格,从未停留在某个时期并不断打破过往的成就与框架。正如无极本人,从东方来到西方,在其艺术创作里可以看到东西方文化特质,潇洒的笔触下处处流露东方的意蕴,丰富的色彩与油彩则是西方绘画常见的元素。不必刻意将无极的风格归类,艺术不分国界,其本身就是一种语言

Zao Wou-Ki
© François Walch
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