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Pêcheurs aux cormorans Encre et couleurs sur papier, signée et marquée du cachet en bas à droite 57.5 x 70.5 cm - 22 1/2 x 27 1/2 in. Ink and color on paper, signed and stamped lower right 渔夫与鸬鹚 纸本水墨设色，署名且钤印于右下方 Le certificat rédigé en date du 25 juillet 2016 par Gérald Markowitz, petit-fils et ayant-droit de l'artiste, sera remis à l'acquéreur 成功购得拍品者将获得由艺术家孙子及其版权持有人Gérald Markowitz于2016年七月25号开出的保证书 PROVENANCE Collection privée, USA Collection privée, France. 来源 美国 私人收藏 法国 私人收藏 Lin Fengmian was born in 1900 in Guangdong Province, China. His father introduced him to the art of calligraphy at an early age, as well as traditional Chinese painting ' two disciplines in which the boy rapidly excelled. In 1918, the young prodigy travelled to France on a programme set up by the government, where participants were taught the language in exchange for odd jobs. Lin Fengmian was thus one of the very first Chinese artists to study in France. He attended various art schools, in Dijon then Paris, where he learned Western painting and drawing techniques. In France, the early 20th century saw a growing number of artistic experiments and movements, with post-Impressionism, Fauvism, Cubism and Expressionism following on in turn. Lin Fengmian was fascinated by all these explorations, particularly the work of Matisse and Modigliani. The artist synthesised Western and Eastern traditions and techniques, gradually developing his own style. In 1924, his work was selected for the Salon d'Automne. He returned to China the following year, where he was appointed director of the Beijing National College of Art, and founded the National Academy of Art in Hangzhou. Throughout his life, Fengmian endeavoured to promote new ideas from the West, and played a decisive role in the development of contemporary Chinese art. He taught several major 20th-century artists, including Zao Wou-Ki and Chu Teh-Chun Unfortunately, many of his works were destroyed during the Cultural Revolution, as the Party leaders disapproved of his innovative views on art. Le Pêcheur aux cormorans illustrates Lin Fengmian's blend of Western and Eastern art. The subject is typically Chinese, as cormorant fishing is an Asian tradition going back a thousand years. However, his treatment of the subject breaks with traditional technique. He uses a square sheet of paper rather than the traditional long rolls of calligraphy. He also abandons the classical rules for constructing landscapes, which involved several planes. With each new plane, the ink was diluted to obtain a lighter-coloured area, suggesting depth. Chinese artists also considered blank spaces highly important, and thus included large empty areas, which they would sometimes fill with a poem. But the composition of Le Pêcheur aux cormorans was inspired by new Western theories. Fengmian did away with the traditional procedures for perspective, asserting the flatness of the work. The composition is seen from above, masking the sky. The planes do not follow on in turn, but are superimposed on one other. His considerable mastery of the ink technique is also noteworthy. Fengmian makes play with the ink's viscosity and the brushstrokes to suggest different forms, materials and variations of light. As a result, the work is highly expressive, and the scene is depicted in a deeply poetic way. Lin Fengmian nait en 1900 dans la province Guangdong, en Chine. Son père l'initie très jeune à l'art de la calligraphie ainsi qu'à la peinture traditionnelle chinoise - deux disciplines dans lesquelles l'enfant excelle rapidement. En 1918, le jeune prodige se rend en France dans le cadre d'un programme mis en place par le gouvernement, proposant l'apprentissage de la langue en échange de menus travaux. Lin Fengmian compte ainsi parmi les tout premiers artistes chinois à étudier en France. Il intègre plusieurs écoles d'art, à Dijon puis à Paris, où il apprend les techniques occidentales de peinture et de dessin. Le début du XXe en France voit la multiplica