Oil on canvas

76 × 53 cm. 29 7/8 × 20 7/8 in.

LITERATURE
2001, Exhibition of Wu Da-yu's Paintings, National Museum of History, Taipei, p. 87
2003, Shanghai Oil & Sculpture Academy – Wu Dayu, Shanghai Education Press, Shanghai, p. 147
2006, Wu Dayu, Lin & Keng Gallery, Taipei, p. 139
2013, Works of Representatives of Shanghai Artists in the Century: Wu Dayu, Shanghai Shu Hua Publishing House, Shanghai, p. 107
2015, Works of Wu Dayu, People's Fine Arts Publishing House, Beijing, p. 57
2020, Wu Dayu, The Commercial Press, Beijing, p. 90, 92-93
EXHIBITED
9 Mar – 8 Apr 2001, Exhibition of Wu Da-yu's Paintings, National Museum of History, Taipei
20 Mar – 8 May 2021, Wu Dayu: Forefather of Chinese Abstraction, Tina Keng Gallery, Taipei

PROVENANCE
Lin & Keng Gallery, Taipei
Acquired directly by present important private Asian collector from the above

This work is accompanied by a certificate of authenticity issued by Lin & Keng Gallery, Taipei

Countless Realms within Canvas, Illuminating My Heart Through the Ages
The Astonishing Debut of Wu Dayu's Museum-Quality Magnum Opus:
A Rare and Autobiographical Masterpiece

“I frame the world within the canvas, imbuing my heart with hues, revealing the depths of my innermost thoughts, dispersing trivialities, and delineating the past and future. I engage in the meticulous artistry of perceiving the universe through the minutiae, pondering the essence of connection with all things. I undertake my craft with a profound understanding that transcends ordinary perception and unveils unseen dimensions. I traverse the realms of macrocosm and microcosm, exploring the depths of human nature and honing my skills of the heart, hand, and eye. I soar beyond conventional comprehension, forging a path untrodden by others, as I embark upon my creative endeavours. Merging the grand and the minuscule, I delve into the depths of the human essence, with strength, agility, and an expansive vision that traverses the vastness of the heavens and the depths of the sea.”
——Wu Dayu

Wu Dayu, as a pioneer of the first generation of Chinese artists who travelled to France, harmonized Eastern and Western art, and pioneered the era of artistic creation. He laid the foundation for Chinese abstract painting and theory, leading the Hangzhou National College of Art as the head of the Western painting department for a remarkable ten years. He was hailed as the “Flag-bearer of China Academy of Art,” an “extraordinary colourist,” and a “pioneer among pioneers,” undoubtedly deserving the title of “The Master among Masters.” Through his visionary perspective and enlightening teaching methods, he nurtured renowned talents such as Zao Wou-Ki, Chu Teh-Chun, and Wu Guanzhong. Throughout his dedicated life, he fearlessly faced the challenges of his time and the hardships of existence, presenting the comprehensive aesthetics of “form, light, and rhythm.” His esteemed reputation, exceptional talent, and refined creations have left a brilliant mark on the history of Chinese modern art, resonating to this day and shining brightly for generations to come.

In this autumn auction, we are honoured to present the debut of Wu Dayu's rare large-scale autobiographical masterpiece Untitled 10, completed in 1980s. This artwork, crafted in the form of “ Savouring the Melody of Radiant Flight” and depicting the vast realm of artistic expression through “hues imbued with the heart and delineating the past and future,” encapsulates the artist's exceptional lifelong aesthetic achievements. The work has been extensively published and featured in nearly all the artist's monographs and collected works. It held significant importance and represented Wu Dayu's artistic legacy, as evidenced by its prominent display at the Exhibition of Wu Dayu's Paintings held at the Taipei Museum of History in 2001.

Unleashing the Infinite within Limits: The Horizon Aglow with Radiant Splendour

Of Wu Dayu's lifelong oeuvre, there are merely 159 oil paintings and over two thousand works on paper remained today. Due to environmental constraints, most of his oil paintings are of modest dimensions (53 x 38 cm). Although he produced larger scale works during his tenure at Hangzhou National College of Art (China Academy of Art), the works were tragically destroyed by the war. After the academy battles and Cultural Revolution, he resigned from Hangzhou National College of Art in 1938. From Changsha via Guiyang and Kunming, he and his family moved to Shanghai in 1940. Wu Dayu stayed in his banker-in-law's three-story home until his death. According to his student Wu Guanzhong, Wu Dayu lived in a remarkably cramped space, yet amidst poverty and illness, he tirelessly cultivated his artistic pursuits. His contemplation and quest for art remained unbroken. The top floor of the small residence, less than ten square meters, served as his limited space for painting. Moreover, during the Cultural Revolution, strict scrutiny on modern painting led Wu Dayu to create only small-scale artworks that could be discreetly stored in drawers. It was not until the end of the Cultural Revolution in 1976, when material conditions slightly improved, that he was able to create larger-scale oil paintings. His lifetime yielded only 11 works larger than size 20 (76x53cm). The artwork being presented in this auction, Untitled 10, is one such example. It marks Wu Dayu's return to unfettered invention, a peak of artistic enthusiasm and genius at his senior age.

Eminence Personified: A Rare Family Portrait of Exquisite Characters

Beyond the rarity of its large-scale format, Wu Dayu infused Untitled 10 with a profound and deeply moving sense of life's warmth. Within the composition, he skilfully blended the essence of Chinese aesthetics with elements of Western cubist expressions, capturing a rare combination of powerful dynamics and vigorous brushwork in the portrayal of four figures: a young man at the centre, a child holding a book in the lower left, a woman with vivid red lips and a touch of rouge in the lower right, and a mischievous youngster whose only exposed eye peeks out from the bottom. This poignant scene inevitably evokes thoughts of the artist's family.

Looking back to the year 1928, when Wu Dayu, the head of the Western Painting Department at Hangzhou Art Academy, resided in a residence on Yuquan Road by the West Lake. In August of that year, he fell in love with and married Shou Yilin, a six-year-younger artist from the Chinese Painting Department at the same college. They welcomed two children in the next two years, and their four-person family found joy and harmony. Ten years at Yuquan residence were the Wu family's most memorable time. Wu Dayu relocated to Shanghai due to the Sino-Japanese War, art academy relocation, and political climate. As the head of the family, he remained unemployed for a decade, and the family survived on their children's secondary school teaching salaries. Their son even had to leave Fudan University in Shanghai due to the inability to pay tuition fees. Despite the hardships of life, the family never parted and always supported each other. The figures in Untitled 10 form a sturdy triangle structure, supporting each other, serving as a true portrayal of Wu Dayu's family life. This artwork eloquently showcases the intimate bond of the four individuals in a fusion of dynamic forces and Cubist form.

Among Wu Dayu's oil paintings, he is renowned for his themes of Floral Symphony, Rhymes of Beijing Opera, and Colourful Rhyme. Rhymes of Beijing Opera refers to his focus on depicting “figures,” which accounts for 27% (43 pieces) of his total creations. Among them, only four examples are of large size, larger than size 20 (76x53cm), and Untitled 10 is one of these rare and exceptional works. When examining his works with a focus on human subjects, they often feature a “single” individual or, at most, a “double” figure composition. Untitled 10, on the other hand, remarkably gathers a group of four figures. Each figure in the painting corresponds to a family member, and the composition incorporates a railing in the upper left background that resembles the window of his former residence in Hangzhou. This element imbues the artwork with the genuine and precious memories of Wu Dayu's old home in Hangzhou and makes it a unique and autobiographical family portrait among his enduring creations.

Dancing Shadows, Expressive Linguistics
The Ultimate Symphony of Creative Freedom: United in Harmony

“The strong aura of Wu Dayu, the aura of China, engulfs the form and colour of the West, forging a new path for Chinese abstract expressionism.”
——Wu Guanzhong

Among the pioneers of the first generation of expatriates, Wu Dayu stood out as one of the few artists who ventured into the realm of abstraction at an early stage. During his sojourn in France from 1922 to 1926, he studied the classical academic style of oil painting under Rouge, a master from the prestigious École Nationale Supérieure des Beaux-Arts in Paris. He remained at the forefront of artistic trends, seeking guidance from Georges Braque, the pioneer of Cubism, and renowned sculptor Antoine Bourdelle. Upon his return to China, he continued to explore various artistic expressions, including the Fauvist movement and abstract expressionism. In 1972, when his student Zao Wou-Ki visited him, he presented Wu Dayu with a volume showcasing the works of Pablo Picasso, adding to the rich tapestry of experiences that served as abundant nourishment for Wu Dayu's creative output in his later years.

In order to manifest the rhythmic sensibility of form, Wu Dayu adeptly extracted the quintessence of Western Cubism and organically fused it with the profound essence of the East. By harnessing the dynamic interplay of form and energy, he achieved a convergence towards a sense of momentum, thereby giving birth to his unparalleled aesthetic of “Dynamic Expressionism” in the 1940s. Within his work titled Untitled 10, he ingeniously reconfigured the facial features of the depicted figures, elucidating the discourse of “form” and “image” through the trajectory of their contours and the interrelationships of their structures. Each figure, guided by their distinct countenance and personality traits, was meticulously portrayed: The central figure, embodying the role of the father, was etched with a prominent nose bridge and profound eyes, capturing his disposition with a few deft strokes—an exquisite reflection of Wu Dayu's own resolute and profound image. Positioned below, the wife stood alongside her children, her lips delicately touched with a hint of red, her eyes sparkling with subtle ingenuity, while the graceful curves of her visage added a uniquely feminine and gentle temperament. The son, a conscientious and eager learner, appeared as if cradling a book, casting a backward glance at his parents, while the lively and endearing daughter found joy beneath their embrace. Her sparse portrayal captured her lively personality and active attitude without overemphasising it.

Drawing inspiration from the boldness of Beijing opera facial masks and the portrayal of facial features in African tribal masks, Wu Dayu employs vigorous and dynamic brushwork in his paintings. Layer upon layer, he shapes and forms, infusing the artwork with a dense and powerful rhythm, capturing the essence of “dynamic expressionism” to its fullest. The simplified human faces, reminiscent of abstract expressions in Cubism, shed the starkness of geometric elements and instead, through the rhythmic movement of form, exhibit a vivid and lifelike quality, imbuing the artwork with a gentle human touch. The colours he employs further enhance the richness of the composition, evoking an air of rustic elegance. Male figures are predominantly depicted with a base of brown and black, supplemented by indigo blue, while female figures incorporate lighter shades of azure. The eyes are delineated with white lines, accentuating the vividness and contrast of the colours, thus echoing the unique imagery of the characters.

Embedded within Wu Dayu's artistic expression is a potent fusion of Western abstract vocabulary and distinct Eastern characteristics. Through the exploration of the “authenticity of meaning and form,” he breathes life into the “human essence and emotions,” thereby encapsulating Wu Dayu's profound artistic individuality and his vivid Eastern sensibilities. This culminates in a visual representation of his artistic musings and lifelong journey, granting him the ultimate freedom to express his innermost thoughts on the canvas.

The Accumulation of Time, Governing the Whole
Transcending Temporal Boundaries: A Tapestry of Life

Wu Dayu's abstract paintings may initially appear obscure, but upon closer inspection, their forms gradually emerge, revealing their profound and lingering charm. He once said, “Painting is the art of space,” and to depict the relationship between figures and space in his works, he meticulously harmonizes light and colour, transforming them into the threads that connect time and space, constructing a realm within the painting. For example, in the background of his paintings, we can see vertical straight lines that create a division between windows, walls, and doors, directing the focus of the figures towards the core and presenting a sense of depth in the composition. Wu Dayu also places great importance on the diversity and unity of colours. Black and blue dominate the palette, establishing the tonal foundation of the artwork. His brushwork leaps and bounds, highlighting the speed and power derived from Eastern ink painting. Simultaneously, other colours gradually layer upon each other. Large areas of brown hues are concentrated to accentuate the figures, while starting from the central figures, indigo, grey-blue, and pale blue gradually introduce variations in the details, thus endowing the artwork with a profound expressiveness achieved through Wu Dayu's advocacy of “cautiously progressing with colour to gradually develop brilliance.” The sky blue and golden yellow outside the window stand out in the composition, bringing a refreshing brightness and symbolizing “hope.” Viewers can vividly sense that the artwork is not a static representation of reality but a powerful interplay of time and space, bursting forth between colour blocks and lines, imagination and memories. The connection between Wu Dayu's nostalgic Hangzhou residence and the present-day loft is intertwined in the painting's time and space, creating a magnificent panorama of life in the clash between light and colours.

With the Might of a Single Arm, Exchanging a Lifetime of Purity and Passion
The Eternal Essence of a Life's Character

Wu Dayu regarded the Wei and Jin dynasty literatus Tao Yuanming as a role model for his life. “Not hiding by hiding but hiding and achieving” is both his praise for Tao Yuanming and his own artistic philosophy. Throughout his life, he faced a society that did not accept him, his artistic ideals were questioned, and he lived in seclusion for an extended period. He couldn't shine like Xu Beihong in the art academy. Instead, he chose to live in seclusion with his family, soaring like a lone eagle in the realm of aesthetics. In this sense, in Wu Dayu's paintings, the expression of spatial imagination is never a conceptually mundane one, but a heartfelt communication filled with spirituality and emotions. It is the language of dynamic, poetry, and emotions. Untitled 10 encapsulates his family, his life, and his sincere attitude towards life.

The work takes Tao Yuanming's quote, “I enjoy convivial conversation with my family; I delight in zither and literature to dispel my cares.” as its theme, seemingly showcasing the harmonious companionship with family members. However, upon closer observation of the spatial arrangement, it is filled with deeper metaphorical implications. On the left side of the painting, a reaching arm seems to symbolize the outside world's influence, bringing inspiration and blessings into this family and opening an important window for their communication with the outside world. For Wu Dayu in his later years, achievements such as his oil painting Rain being exhibited at the National Art Exhibition in 1978 and receiving the “Honorary Award,” becoming the first abstract work to be recognized in a national-level art exhibition after the founding of People's Republic of China, spoke volumes about the academic community's revaluation of Wu Dayu's status. Similarly, his appointment as Vice President of the Shanghai China Art Academy in 1979, or the completion of this artwork in 1980 when his student Chu Teh-Chun sent him a box full of Western-style pigments from France, brought him new hope, imagination, material support, spiritual enrichment, and family harmony. In Untitled 10, the arm reaching into the window represents a messenger of good tidings, reminiscent of classical religious paintings, conveying an uplifting message. That arm also symbolizes his ultimate belief in art, guiding him steadfastly in the face of adversity.

Wu Dayu embraced a freedom like that of Tao Yuanming, not seeking fame or fortune, maintaining a detached approach to life, yet persistently pursuing his artistic path. He firmly grasped the olive branch called “art” extended to him, embodying the power of coexistence with art, pouring his genuine and unwavering passion into it. Through the liberation of “colour and form,” he ultimately found the “repose of the heart and spirit.”

Price estimate:
HKD 12,000,000 – 18,000,000
USD 1,538,500 – 2,307,700