SANYU (1895 or 1901-1966)
1929 The White Pitchers of Sanyu
2015 SOLD for HK$ 59M including premium
Life is not always easy for a young Chinese artist in exile in Paris. For Sanyu, the meeting with Henri-Pierre Roché in 1929 was providential although not enough to protect him from misery.
Encouraged by his new sponsor, Sanyu is experimenting the possibilities of artistic expression of the oil painting, which will open his eyes beyond his favorite theme of the drawings of women for fashion and in the nude.
Sanyu becomes a painter of flowers, but with a great originality in which some try to see the influence of Chinese art. The theme of his research is not only the flowers but especially the white pitcher in which they are arranged. This stylized vase disappearing before a white background or in total contrast to a black background opens a new artistic language based on the opposition of simple shapes.
The oil on canvas 73 x 50 cm for sale by Poly Auction in Hong Kong on October 5, lot 133, is dated from that first experimental year. It is highlighted in the press release announcing all the sessions of the auction.
This white pot is placed on a white surface in front of a black background. It contains some roses as flowers or buds, painted in pink. The stems and the skeletons leaves painted close to white add to the illusion that this work without perspective effect and without texture detail could almost be a radiograph.
The artist continues his creative exploration. An oil on canvas painted in 1930 in a similar size shows a colored vase but the vanishing contrasts affect the plant against its black background. This painting that had belonged to Roché was sold for € 4.1 million including premium by Aguttes on June 2, 2015.
In 1931, the white vase against a white background becomes almost invisible. It is still present but does not attract any more the attention of the viewer. The flower becomes logically the focus of the picture. A composition with two pink hydrangeas was sold by Aguttes in the same sale as above and at the same price.
Soon after, the quarrel between Sanyu and Roché marks the end of this first period of great creativity of the artist.
Encouraged by his new sponsor, Sanyu is experimenting the possibilities of artistic expression of the oil painting, which will open his eyes beyond his favorite theme of the drawings of women for fashion and in the nude.
Sanyu becomes a painter of flowers, but with a great originality in which some try to see the influence of Chinese art. The theme of his research is not only the flowers but especially the white pitcher in which they are arranged. This stylized vase disappearing before a white background or in total contrast to a black background opens a new artistic language based on the opposition of simple shapes.
The oil on canvas 73 x 50 cm for sale by Poly Auction in Hong Kong on October 5, lot 133, is dated from that first experimental year. It is highlighted in the press release announcing all the sessions of the auction.
This white pot is placed on a white surface in front of a black background. It contains some roses as flowers or buds, painted in pink. The stems and the skeletons leaves painted close to white add to the illusion that this work without perspective effect and without texture detail could almost be a radiograph.
The artist continues his creative exploration. An oil on canvas painted in 1930 in a similar size shows a colored vase but the vanishing contrasts affect the plant against its black background. This painting that had belonged to Roché was sold for € 4.1 million including premium by Aguttes on June 2, 2015.
In 1931, the white vase against a white background becomes almost invisible. It is still present but does not attract any more the attention of the viewer. The flower becomes logically the focus of the picture. A composition with two pink hydrangeas was sold by Aguttes in the same sale as above and at the same price.
Soon after, the quarrel between Sanyu and Roché marks the end of this first period of great creativity of the artist.
The Hope for Abundance of a Young Chinese Artist
2013 SOLD 67 MHK$ including premium
PRE SALE DISCUSSION
Chang Yu arrived in Paris in 1921, aged 20. He wants to be an artist, and the easy life of Montparnasse quickly allows him to be known and acknowledged by the avant-garde.
He decided to stay in Paris, but with the boldness of a great artist he wants to keep his freedom of expression. Hisrelationships are stormy with the merchants who could represent him. He persists. His art is so personal and so original that is he now recognized as one of the most outstanding Chinese artists of his time. His name has been sinicized in Sanyu.
The corollary from the years of hardship is that his works have no ancient history of exhibition and cannot be dated. Goldfish, oil on canvas 74 x 50 cm, was painted after 1929. Later, he often used masonite: this work was likely not made after the Second World War.
Goldfish is a unique study and perhaps with no equivalent in the art of Sanyu by his search for the expression of a deep message by using the greatest simplicity of figuration, meeting the epitome of art as defined by old Chinese critics.
In a transparent cylindrical jar, eight goldfish of assorted colors swim peacefully in front of a bright orange wall. This animal and the number 8 are ancient Chinese symbols of abundance. Their freedom of positions may be compared with the iconography of the jars of the Jiajing emperor of the Ming. The white tablecloth is decorated with subtle signs reminding that Sanyu had studied the classical calligraphy.
Goldfish is estimated HK $ 50M, for sale by Sotheby's in Hong Kong on October 5. Here is the link to the catalog.
POST SALE COMMENT
Very good result for this painting despite its simplicity, or rather because of it: HK$ 67M including premium.
Chang Yu arrived in Paris in 1921, aged 20. He wants to be an artist, and the easy life of Montparnasse quickly allows him to be known and acknowledged by the avant-garde.
He decided to stay in Paris, but with the boldness of a great artist he wants to keep his freedom of expression. Hisrelationships are stormy with the merchants who could represent him. He persists. His art is so personal and so original that is he now recognized as one of the most outstanding Chinese artists of his time. His name has been sinicized in Sanyu.
The corollary from the years of hardship is that his works have no ancient history of exhibition and cannot be dated. Goldfish, oil on canvas 74 x 50 cm, was painted after 1929. Later, he often used masonite: this work was likely not made after the Second World War.
Goldfish is a unique study and perhaps with no equivalent in the art of Sanyu by his search for the expression of a deep message by using the greatest simplicity of figuration, meeting the epitome of art as defined by old Chinese critics.
In a transparent cylindrical jar, eight goldfish of assorted colors swim peacefully in front of a bright orange wall. This animal and the number 8 are ancient Chinese symbols of abundance. Their freedom of positions may be compared with the iconography of the jars of the Jiajing emperor of the Ming. The white tablecloth is decorated with subtle signs reminding that Sanyu had studied the classical calligraphy.
Goldfish is estimated HK $ 50M, for sale by Sotheby's in Hong Kong on October 5. Here is the link to the catalog.
POST SALE COMMENT
Very good result for this painting despite its simplicity, or rather because of it: HK$ 67M including premium.
1931 The Trusting Leopard
2017 SOLD for HK$ 80M including premium
Born in a family of wealthy silk industrialists, Sanyu had early skills for black ink and calligraphy. He developed his personal art in Paris by drawing the nude bodies of the women with a minimalist undulating line that accentuated the erotic invitation.
Supported by Henri-Pierre Roché from 1929 to 1932, Sanyu perfected his oil painting, experienced the drypoint engraving and found other themes.
On September 30 in Hong Kong, Sotheby's sells as lot 1018Léopard, an oil on canvas 93 x 116 cm painted in 1931 which had originally belonged to Roché. The near life size leopard is sketched by the white lines delineating the body and by the circles of the spots in a figure that hardly stands out from a black background interspersed with irregular white stripes.
The four legs and the tail upwards, the wild animal offers its belly in the attitude of a trusting cat requesting a caress. At that time of crisis when financial difficulties arise for Sanyu, this artwork transposes his desire for a cosy well-being.
Accumulating the originality of the camouflaged line, the large size, the attitude of joy, the joint inspiration from classical China and modern Art Déco and the minimalism of black and white, this nice feline has few equivalents in the art of Sanyu. The auction house does not reveal the estimate.
Please watch the short video shared by Sotheby's.
Supported by Henri-Pierre Roché from 1929 to 1932, Sanyu perfected his oil painting, experienced the drypoint engraving and found other themes.
On September 30 in Hong Kong, Sotheby's sells as lot 1018Léopard, an oil on canvas 93 x 116 cm painted in 1931 which had originally belonged to Roché. The near life size leopard is sketched by the white lines delineating the body and by the circles of the spots in a figure that hardly stands out from a black background interspersed with irregular white stripes.
The four legs and the tail upwards, the wild animal offers its belly in the attitude of a trusting cat requesting a caress. At that time of crisis when financial difficulties arise for Sanyu, this artwork transposes his desire for a cosy well-being.
Accumulating the originality of the camouflaged line, the large size, the attitude of joy, the joint inspiration from classical China and modern Art Déco and the minimalism of black and white, this nice feline has few equivalents in the art of Sanyu. The auction house does not reveal the estimate.
Please watch the short video shared by Sotheby's.
1931 Bouquets in Montparnasse
2017 SOLD for HK$ 51M including premium
During his studies at La Grande Chaumière, Sanyu tirelessly took sketches from the naked bodies of women. Despite his very good understanding of both Asian and Western arts, his approach was highly original : the emotion can come from the balance between the surfaces delimited by the lines. Figurative details, proportions and perspectives are subsidiary. Cézanne was right : art cannot copy nature.
The meeting with the flamboyant collector Henri-Pierre Roché in 1929 is decisive for Sanyu. A friend of Leo and Gertrude Stein, Roché plays a role of discoverer of talents in the avant-garde communities of Montparnasse. He promises Sanyu to buy him all his future works.
Liberated from material constraints, the young Chinese gives free impulse to his creativity. He adds colors according to Roché's recommendation to practice the oil painting. With this technique then new for him, Sanyu explores other artistic possibilities in a three centuries old theme : the bouquet of flowers in a vase.
Once again Sanyu goes against all the artistic conventions. His colors are very little contrasting either in pastel or dark hues. His favorite color is pink in a similarity between still life and nude that could have led him to the abstract expressionism. The vase is reduced to its outline without color and texture.
On November 22, 2014 in Hong Kong, Christie's sold for HK $ 47M including premium a Bouquet de roses dans un vase blanc, oil on canvas 81 x 50 cm dated April 10, 1931. The vase draws attention only by a slight angular tilting. A better visibility on the leaves than on the flowers is in opposition with all the academics.
On November 25 in the same auction house, a Bouquet de marguerites dated January 1931 is estimated HK $ 50M, lot 21.
This oil on canvas 81 x 45 cm appears as a bold study of asymmetry. The white edges at bottom and right simulate a window that decenters the vase in an optical trick. The flowers are in two groups separated by bare stems. The upper group leaning to the left is counterbalanced by the distribution of the flowers below it. In this composition without perspective the stylized vase is either posed or floating.
The meeting with the flamboyant collector Henri-Pierre Roché in 1929 is decisive for Sanyu. A friend of Leo and Gertrude Stein, Roché plays a role of discoverer of talents in the avant-garde communities of Montparnasse. He promises Sanyu to buy him all his future works.
Liberated from material constraints, the young Chinese gives free impulse to his creativity. He adds colors according to Roché's recommendation to practice the oil painting. With this technique then new for him, Sanyu explores other artistic possibilities in a three centuries old theme : the bouquet of flowers in a vase.
Once again Sanyu goes against all the artistic conventions. His colors are very little contrasting either in pastel or dark hues. His favorite color is pink in a similarity between still life and nude that could have led him to the abstract expressionism. The vase is reduced to its outline without color and texture.
On November 22, 2014 in Hong Kong, Christie's sold for HK $ 47M including premium a Bouquet de roses dans un vase blanc, oil on canvas 81 x 50 cm dated April 10, 1931. The vase draws attention only by a slight angular tilting. A better visibility on the leaves than on the flowers is in opposition with all the academics.
On November 25 in the same auction house, a Bouquet de marguerites dated January 1931 is estimated HK $ 50M, lot 21.
This oil on canvas 81 x 45 cm appears as a bold study of asymmetry. The white edges at bottom and right simulate a window that decenters the vase in an optical trick. The flowers are in two groups separated by bare stems. The upper group leaning to the left is counterbalanced by the distribution of the flowers below it. In this composition without perspective the stylized vase is either posed or floating.
1930s A Simple Pink Nude
2016 SOLD for HK$ 59M including premium
Arriving in Paris in the early 1920s, Sanyu explored Montmartre and Montparnasse. The young artist is passionate about the Parisian life and its cabarets and about the freedom left to the artists to show the female nude. He realizes countless drawings combining the effectiveness of the line of traditional Chinese style with this sensual theme taboo at that time in his country.
Sanyu is a great innovator, probably influenced by Modigliani's nudes. He fully materializes the idea of the dominance of a sharp line. To draw the body, he favors the undulating lines and removes the unnecessary details. He lengthens torso and legs, and deliberately shrinks the head which is not interesting him.
Sanyu was a fiercely independent temperament, like Soutine. There is no doubt that he preferred his art to the fame but he also needed money and his demands went to weary his dealer Henri-Pierre Roché who broke their relationship in 1932.
Largely from Roché, Sanyu had understood the expressive qualities of oil painting. On October 3 in Hong Kong, Poly sells as lot 133 a pink nude painted by Sanyu in the 1930s. This oil on board 47 x 82 cm had been sold for HK $ 14M including premium by Sotheby's on 4 October 2010, lot 277.
The woman is lying on her back on a white blanket with floral pattern. She is quietly sleeping with arms around her head and with tight legs. This nearly monochromatic composition is overwhelmed by the vivid pink flesh of this Parisian woman with a blonde hair.
Sanyu is a great innovator, probably influenced by Modigliani's nudes. He fully materializes the idea of the dominance of a sharp line. To draw the body, he favors the undulating lines and removes the unnecessary details. He lengthens torso and legs, and deliberately shrinks the head which is not interesting him.
Sanyu was a fiercely independent temperament, like Soutine. There is no doubt that he preferred his art to the fame but he also needed money and his demands went to weary his dealer Henri-Pierre Roché who broke their relationship in 1932.
Largely from Roché, Sanyu had understood the expressive qualities of oil painting. On October 3 in Hong Kong, Poly sells as lot 133 a pink nude painted by Sanyu in the 1930s. This oil on board 47 x 82 cm had been sold for HK $ 14M including premium by Sotheby's on 4 October 2010, lot 277.
The woman is lying on her back on a white blanket with floral pattern. She is quietly sleeping with arms around her head and with tight legs. This nearly monochromatic composition is overwhelmed by the vivid pink flesh of this Parisian woman with a blonde hair.
1933-1934 Peonies in Pink and Black
2017 SOLD for € 8.8M including premium
On December 18 in Paris (Hôtel Drouot), Aguttes sells a recently rediscovered still life painted by Sanyu showing a peony plant in a flower pot, lot 12 estimated € 3M.
After the termination of his co-operation with Roché in 1931, Sanyu stops dating his artworks, perhaps because he shall give more attention to his creativity than to trade. The chronology of his art is uneasy to analyze.
This pot of peonies is made in minimalist colors consistent with the Roché period : the black and grays of the calligraphic line and the pink of the nudes. The staging of this plant with sharp lines is both effective and strange, like a colored negative succeeding his previous positive compositions on a light background. Leaves lined and ribbed with white are transparent in front of the black background like the skeletal leaves of a memento mori.
Two other elements converge to date this still life on the early 1930s although a slightly later date is also possible.
The oil 92 x 74 cm is painted on canvas. After the war Sanyu will prefer to work on masonite panels. It is visible in the undated photo of an exhibition wall, possibly from events organized in Amsterdam in 1933 and 1934 by a group of friends of the artist around the musician Johan Franco.
Please watch the video shared by Aguttes.
After the termination of his co-operation with Roché in 1931, Sanyu stops dating his artworks, perhaps because he shall give more attention to his creativity than to trade. The chronology of his art is uneasy to analyze.
This pot of peonies is made in minimalist colors consistent with the Roché period : the black and grays of the calligraphic line and the pink of the nudes. The staging of this plant with sharp lines is both effective and strange, like a colored negative succeeding his previous positive compositions on a light background. Leaves lined and ribbed with white are transparent in front of the black background like the skeletal leaves of a memento mori.
Two other elements converge to date this still life on the early 1930s although a slightly later date is also possible.
The oil 92 x 74 cm is painted on canvas. After the war Sanyu will prefer to work on masonite panels. It is visible in the undated photo of an exhibition wall, possibly from events organized in Amsterdam in 1933 and 1934 by a group of friends of the artist around the musician Johan Franco.
Please watch the video shared by Aguttes.
1955 Five Demoiselles
2019 SOLD for HK$ 304M including premium
When he quarreled with Roché in 1932, Sanyu lost his chances of a commercial recognition of his art. After the second world war, his works become more experimental, in search of a perfection that would mix the pictorial traditions of East and West. Most of his paintings from this period are made on masonite, which had the advantage of being cheap.
Cinq Nus, oil on masonite 120 x 172 cm, is one of the largest formats painted by the artist. The style is recognizable with its flat colors delimited by simplified curves. The nonchalant atmosphere is confirmed by a dog and a cat, both sleeping. This work, however, has several unique features.
The five women form the largest group painted by Sanyu in his career, and the only example with more than two characters in standing position. They are displayed side by side with a different attitude of the legs that evokes four successive phases of a dance before a final turning back. The bodies are not deformed although the heads are small.
The four hair colors of European women are displayed : blond, black, brunette, red. The faces are different from each other. Otherwise, nothing prevents from imagining five images in a row from a single model.
The exceptional size suggests that Sanyu wanted to make it a reference work that could be compared to the most famous paintings of modern art. The Demoiselles d'Avignon by Picasso and La Danse by Matisse are the two historical examples that stage five naked women, impossible to differentiate from each other in Matisse's case.
The Cinq Nus by Sanyu are made in three colors, pale for the flesh, dark red for the background and bright yellow for the carpet, which also evoke the work of Matisse on the expression of colors. Matisse died in 1954. Antoine Chen, author of a monograph on Sanyu, dates the Cinq Nus of 1955.
Cinq Nus was sold for HK $ 128M including premium by Ravenel on May 30, 2011. I had discussed it before that sale in this column. It is estimated HK $ 250M for sale by Christie's in Hong Kong on November 23, lot 7. Please watch the video shared by Christie's.
Cinq Nus, oil on masonite 120 x 172 cm, is one of the largest formats painted by the artist. The style is recognizable with its flat colors delimited by simplified curves. The nonchalant atmosphere is confirmed by a dog and a cat, both sleeping. This work, however, has several unique features.
The five women form the largest group painted by Sanyu in his career, and the only example with more than two characters in standing position. They are displayed side by side with a different attitude of the legs that evokes four successive phases of a dance before a final turning back. The bodies are not deformed although the heads are small.
The four hair colors of European women are displayed : blond, black, brunette, red. The faces are different from each other. Otherwise, nothing prevents from imagining five images in a row from a single model.
The exceptional size suggests that Sanyu wanted to make it a reference work that could be compared to the most famous paintings of modern art. The Demoiselles d'Avignon by Picasso and La Danse by Matisse are the two historical examples that stage five naked women, impossible to differentiate from each other in Matisse's case.
The Cinq Nus by Sanyu are made in three colors, pale for the flesh, dark red for the background and bright yellow for the carpet, which also evoke the work of Matisse on the expression of colors. Matisse died in 1954. Antoine Chen, author of a monograph on Sanyu, dates the Cinq Nus of 1955.
Cinq Nus was sold for HK $ 128M including premium by Ravenel on May 30, 2011. I had discussed it before that sale in this column. It is estimated HK $ 250M for sale by Christie's in Hong Kong on November 23, lot 7. Please watch the video shared by Christie's.
1950s A Chrysanthemum in Paris
2010 SOLD 53 MHK$ including premium
PRE SALE DISCUSSION
In 2006, the art market discovers the importance of the still life paintings made in Paris by Sanyu (Chang Yu) in the 1950s. The highest bid is then recorded on a potted chrysanthemum, sold HK$ 29M including premium at Christie's.
Sanyu is a colorist who knows Matisse. The contrast is strong between the main subject, bright, and the crimson background, a solid color that could appeal to Rothko. The chrysanthemum is loved in the Far East, where it is a symbol of appeasement. The blue and white pot is a direct reference to China. It is an oil on masonite, 120 x 90 cm, whose composition is much balanced.
This artwork comes in the same auction house, Christie's in Hong Kong, on November 27, lot 1009. The press release does not publish an estimate, but considers that this lot has the potential to set a new auction record.
POST SALE COMMENT
The buyer of 2006 had an excellent deal, and Christie's perfectly accompanied the current enthusiasm for Sanyu's art of the 1950s.
Result: HK $ 53M including premium.
In 2006, the art market discovers the importance of the still life paintings made in Paris by Sanyu (Chang Yu) in the 1950s. The highest bid is then recorded on a potted chrysanthemum, sold HK$ 29M including premium at Christie's.
Sanyu is a colorist who knows Matisse. The contrast is strong between the main subject, bright, and the crimson background, a solid color that could appeal to Rothko. The chrysanthemum is loved in the Far East, where it is a symbol of appeasement. The blue and white pot is a direct reference to China. It is an oil on masonite, 120 x 90 cm, whose composition is much balanced.
This artwork comes in the same auction house, Christie's in Hong Kong, on November 27, lot 1009. The press release does not publish an estimate, but considers that this lot has the potential to set a new auction record.
POST SALE COMMENT
The buyer of 2006 had an excellent deal, and Christie's perfectly accompanied the current enthusiasm for Sanyu's art of the 1950s.
Result: HK $ 53M including premium.
1958 Luxuriance of a Chrysanthemum
2014 SOLD 80 MHK$ including premium
PRE SALE DISCUSSION
In Paris, Sanyu has not forgotten his Chinese origin. In the 1950s, he devotes his art to a synthesis of Western and Eastern figurative elements, with an authenticity specially interesting because he was no longer looking for fame. The bright colors in front of which he dispositions his figures are inspired by abstract expressionism.
Now his potted chrysanthemums are included among the masterpieces of exiled Chinese painting.
He uses the oil on masonite, a Western technique. Still life on tabletop is not a Chinese theme. The chrysanthemum is the link to the Chinese imagery. It reveals its power when it is raising up with luxuriance towards the sky or ceiling, with colors inspired by the traditional art of lacquer.
On April 5 in Hong Kong, an amazing example is for sale by Sotheby's. In large size for this artist, 130 x 74 cm, this painting is estimated HK $ 40M.
Fortunately for the historian, this painting comes with a dated information, which is not often the case for the later art by Sanyu. In March 1958, it was chosen by the artist to illustrate his quest for East meets West within a modern art exhibition in Camargue.
Here is the link to the catalogue.
POST SALE COMMENT
This important specimen from an iconic series was sold for HK$ 80M including premium.
In Paris, Sanyu has not forgotten his Chinese origin. In the 1950s, he devotes his art to a synthesis of Western and Eastern figurative elements, with an authenticity specially interesting because he was no longer looking for fame. The bright colors in front of which he dispositions his figures are inspired by abstract expressionism.
Now his potted chrysanthemums are included among the masterpieces of exiled Chinese painting.
He uses the oil on masonite, a Western technique. Still life on tabletop is not a Chinese theme. The chrysanthemum is the link to the Chinese imagery. It reveals its power when it is raising up with luxuriance towards the sky or ceiling, with colors inspired by the traditional art of lacquer.
On April 5 in Hong Kong, an amazing example is for sale by Sotheby's. In large size for this artist, 130 x 74 cm, this painting is estimated HK $ 40M.
Fortunately for the historian, this painting comes with a dated information, which is not often the case for the later art by Sanyu. In March 1958, it was chosen by the artist to illustrate his quest for East meets West within a modern art exhibition in Camargue.
Here is the link to the catalogue.
POST SALE COMMENT
This important specimen from an iconic series was sold for HK$ 80M including premium.
1965 Studies of Pink Legs
2019 SOLD for HK$ 198M including premium
The female nude is a favorite theme to Sanyu. His art is profoundly authentic but integrates also within the Art Déco trends of his youth. The drawings are often erotic but the oil paintings are studies of forms with a deliberately minimalist palette, same as in his potted plants and animals of the same period.
Sanyu was not tempted by total abstraction. The flesh is contained in a black outline which thickens over time. Under the influence of photography, his compositions are freed from the three dimensional space, displaying from the early 1930s an exaggerated preponderance to the legs and narrowing the head.
Throughout his life, Sanyu was exercising his creativity without succeeding in pushing his career. In 1964 the project of a solo exhibition at the National Museum of History in Taipei brought hope for an international recognition. He sent 42 artworks, including a new 47 x 50 cm Nu in oil on paper.
The project is going badly and Sanyu has no longer access to his own works. In April 1965 he compensates for this frustration by making a larger version of his Nu, an oil on masonite 123 x 135 cm. The simplicity of the forms and the monochrome body on a white background bring a fine readability to this work, like a wall poster. It is the central element of a private exhibition in Paris in December 1965.
A pathetic autograph inscription on the back of the masonite testifies that the aging artist felt with this composition the maturity which he had been seeking for several decades and regretted the time lost during the years of poverty. It was too late. He died accidentally in his workshop in August 1966.
This ultimate Nu on masonite will be sold by Sotheby's in Hong Kong on October 5, lot 1029. The press release of September 16 announces an estimate in excess of HK $ 150M. Please watch the video shared by the auction house.
Sanyu was not tempted by total abstraction. The flesh is contained in a black outline which thickens over time. Under the influence of photography, his compositions are freed from the three dimensional space, displaying from the early 1930s an exaggerated preponderance to the legs and narrowing the head.
Throughout his life, Sanyu was exercising his creativity without succeeding in pushing his career. In 1964 the project of a solo exhibition at the National Museum of History in Taipei brought hope for an international recognition. He sent 42 artworks, including a new 47 x 50 cm Nu in oil on paper.
The project is going badly and Sanyu has no longer access to his own works. In April 1965 he compensates for this frustration by making a larger version of his Nu, an oil on masonite 123 x 135 cm. The simplicity of the forms and the monochrome body on a white background bring a fine readability to this work, like a wall poster. It is the central element of a private exhibition in Paris in December 1965.
A pathetic autograph inscription on the back of the masonite testifies that the aging artist felt with this composition the maturity which he had been seeking for several decades and regretted the time lost during the years of poverty. It was too late. He died accidentally in his workshop in August 1966.
This ultimate Nu on masonite will be sold by Sotheby's in Hong Kong on October 5, lot 1029. The press release of September 16 announces an estimate in excess of HK $ 150M. Please watch the video shared by the auction house.
