Oil on canvas

73.5 × 92.5 cm. 28 7/8 × 36 3/8 in.

Signed in Chinese and pinyin on bottom right; signed in pinyin, dated/titled on the reverse

LITERATURE
1978, Zao Wou-ki, Editions Hier et Demain, Paris, p. 268, plate no. 219
1979, Zao Wou-ki, Editions Rizzoli, New York, p. 268, plate no. 219
1986, Zao Wou-ki, Editions Cercle d'Art, Paris, p. 268, plate no. 219
PROVENANCE
7 Dec 2014, Revenel Taipei Autumn Auction, Lot 172
Acquired directly by present important Asian collector from the above
This work is accompanied by a cartificate of authenticity issued by Foundation Zao Wou-Ki
Note: This work will be included in the artist's forthcoming catalogue raisonné prepared by Françoise Marquet and Yann Hendgen (Information provided by Foundation Zao Wou-Ki)

Of the Life Beings, Of the Cosmos
21.01.76: The Milestone Abstract Art of Zao Wou-Ki
Starting from as early as 1960s, Zao Wou-Ki got rid of the restrictions of concrete art and obtained his signature style of abstract art. The centripetal force that is shown in his art resembles the power of a hurricane demonstrates the concentration of Eastern spirits. During this period of his creation, he often concentrated his imaginary items into one visual focus and granted it a high clarity while blurring the rest of the canvas. This style of using the Western modernist skillset to demonstrate the “Grand Image in No Form” as the core of ancient Chinese philosophy has coronated him with an international reputation that is equal with European abstract artists such as Pierre Soulages and Hans Hartung who had enjoyed heated fame as post-WWII artists.

Rooting Back in the Homeland, Transformation Ever Since
After the unprecedented success of his personal exhibition that was held in Musée des beaux-arts de Montréal (The Montreal Museum of Fine Arts), 1969, Zao's career, which was endorsed by two upper-ended galleries, Galarie de France and Kootz Gallery, climbed onto its climax in 1970s. However, the journey of his life was about to face significant turbulence. In 1972, the death of sickness of his second wife, Chan Mei Kam broke his heart and made him realize the easy loss of precious life. He hence decided to come back to his homeland, China, and visit his family. This was the first time that Zao came back to China after moving to France in 1948. Not only did the excitement of re-meeting his beloved family relived his pain of loss but also dragged him back from the foreign land and reminded him his youth in the hometown and later brought about a critical change in his style of art. Encouraged by his close friend Henri Michaux, Zao decided to devote himself into the world of art once again. After saying farewell to the slump of his life, Zao stepped into a crucial period of transformation starting from 1973. Just like the explosive force that is gained during rising from the ashes, Zao witnessed another climax of his life of art. This time, Zao re-applied Chinese watercolour into his art. The awareness of the national characteristics of traditional art led him to the inner peace and empowered his paintings with a steady strength that is shining and rising.

Later in 1975-1976, Zao stepped into the prosperity of his career and once again gained a prestige status in Paris despite the high intensity of masters of art in that city back then. He had 9 works exhibited in Paris Museum of Modern Art in 1976 which pushed his career forward to a new height. At the same time, the loving relationship between him and his third wife, Francoise Marquet also helped get rid of the depression in his mind and brought gentle bliss into his artwork.

What is presented here, 21.01.76 was born in that special year when the artist had harvested the sense of satisfaction in both his career and personal life. It depicts how Zao manipulates important artistic skills during this critical period. He uses bright and fulfilling energy to created a dream-like space between reality and imagination. The colours he uses include orange, pea green, bright yellow and black that are usually interpreted as the representatives of “life and hope”, delivering his understanding of active life and spirits reborn after burning. Not only does this work of art shows the inspiration and cornerstone of his milestone of art, MALRAUX (André). La Tentation de l'Occident that was done only four months later, but also showed how the artist re-identified himself with a novel style and regained his peace of mind with superior intelligence. 21.01.76 is the supreme work of art that allows Zao to compete among the ultimate masters of abstract art all over the world.

The Correspondence Between Mind and Hands, The Encounter Within the Universe
‘I wish to depict the empty, peaceful and harmonious atmosphere, show a conception. I like the spontaneity that is created by the correspondence between mind and hands.'
-- Zao Wou-Ki

21.01.76 is like an encountering of colours. In the foreground, thin and clear pea green, together with heavy and moist black, boldly divides the space into two. There is a single green, as well as multiple layers of depth created with complex skills, giving this painting both the innocent tone of Paul Klee and the sense of speed of William Turner. Compared to other works of the artist during the same period, 21.01.76 carefully details both the surrounds and the centre, and deliberately highlights the blue colour on the upper part, implying the sky. This work of art applies a brand new open-styled composition that is completely different from Zao's wild-cursive style. Instead of putting the weight in the very centre of the canvas, Zao bravely allows it to expand and fix the structure on the four edges, making the middle mores spacious. Relating to the mindset of the artist during this period of time, this style of art resembles a freedom of “unpresence”.

The Compatibility of Elements, The Consonance of Strokes and the Butterfly Effect
Additionally, what is remarkable is that in the centre of the painting 21.01.76, Zao uses the turbulence of green strokes to create an effect of multiple layers of shadow, establishing a delightful sense of order on the right side of the space. It is those gentle and detailed turbulences that are like wings of butterflies that generate the hurricane of colours within the world of this artwork – just like the Butterfly Effect. The flying tone of green, as light as birds, getting rid of the heavy weight of the oil colours, demonstrates the compatibility of the universe and enables the black tone that is entangled within to jump out and wipes out with the speedy strokes that resemble a tornado. This style obtains the free spirit of action painting created by Jackson Pollock and empowers the energy of life.

In the painting of 21.01.76, the details and repeated layers in Pleinairism are all eliminated. Instead, what is highlighted are the mind-shaking strokes and grand view of colours. Zao Wou-Ki transforms the complicated into simplicity, giving his work both the contrast of outdoor colours and shadows in Impressionism and the unique power and passion that belong to the free spirits of Expressionism. Under his brushes, the concrete scenery is abstracted into a free-hand “mind picture”, showing the overall eternity within the grand range of life in the universe. It is just like what the artist has understood within his life: coming back to the very beginning of initiatives, and valuing the experience with a peace of mind.

The artwork of Zao Wou-Ki demonstrates the Chinese Taoist perspective of the universe as “no limitation beyond the smallest or the biggest”. He uses the circulation of colours and the contrast of strokes to establish a visual area where time and space do not exist, and uses this vessel to deliver the energy of all life beings, as well as the philosophy of Chinese nationality.

Price estimate:
HKD: 12,000,000 – 18,000,000
USD: 1,547,400 – 2,321,100

Auction Result:
HKD: 11,800,000