1946, Zao Wou-Ki, Paysage Hangzhou (Landscape in Hangzhou) -- Musee d'Art Moderne de Paris
From the museum label:
At the crossroads of two worlds, Zao Wou-Ki's work is "a paragon of the search for harmony between East and West" (Claude Roy). His painting, with its perfect balance between Western abstraction and Chinese pictorial tradition, is a celebration of light, movement and silence.
Zao-Wou-Ki was born in 1920 in Beijing and arrived in Paris in 1948. He soon adapted to the aesthetic upheavals of his time and became one of the great masters of lyrical abstraction. Painting, poetry, literature and music always played an important role in his creative process and he was in constant dialogue with his friends, including Henri Michaux, Edgar Varèse, Pierre Soulages, François Cheng, René Char, Claude Roy, Alberto Giacometti, Bernard Noël, Pierre Matisse, André Malraux and the architect leoh Ming Pei.
1946, Zao Wou-Ki, Paysage Hangzhou (Landscape in Hangzhou) -- Musee d'Art Moderne de Paris
From the museum label:
At the crossroads of two worlds, Zao Wou-Ki's work is "a paragon of the search for harmony between East and West" (Claude Roy). His painting, with its perfect balance between Western abstraction and Chinese pictorial tradition, is a celebration of light, movement and silence.
Zao-Wou-Ki was born in 1920 in Beijing and arrived in Paris in 1948. He soon adapted to the aesthetic upheavals of his time and became one of the great masters of lyrical abstraction. Painting, poetry, literature and music always played an important role in his creative process and he was in constant dialogue with his friends, including Henri Michaux, Edgar Varèse, Pierre Soulages, François Cheng, René Char, Claude Roy, Alberto Giacometti, Bernard Noël, Pierre Matisse, André Malraux and the architect leoh Ming Pei.