Papier, Encre, Couleurs - Pigments
傅抱石; 傅; 抱石大利; 造化小兒多事
Don manuel : Guo, Youshou 郭有守, Docteur
Inscription and signature: 款識：甲申八月廿六日，余四十生辰次女益璇甫墜地二日也。重慶西郊記，新喻傅抱石。
Painter’s seal: 印：1.傅（朱文） 2.抱石大利（白文） 3.造化小兒多事（白文） Fu Baoshi was born in Nanchang in Jiangxi. After a brief apprenticeship in the potter’s craft in Jingdezhen, he pursued his schooling. Largely self-taught as a painter, he produced his first works under the name of Baoshi in 1925. The paintings of his youth revolved around historical concerns. His first published works, on the history of Chinese painting, earned him the support of Xu Beihong and the opportunity to study in Japan from 1933 to 1936. During this period, his work focused on the painting of Gu Kaizhi and Shitao. In parallel with his historical research and translations, he held the first large-scale exhibition of his works in Tokyo in 1934. On his return to China shortly before the start of the war, he stayed in his native region of Jiangxi, before seeking refuge in Chongqing, where he lived from 1939 to 1945. In the course of this period, his painting progressively took over from his research work. A large exhibition in Chongqing in 1942 presented his distinctive style and favourite literary themes. In 1946, he went back to teaching at the National Central University in Nanjing, to which he had been attached since 1940. After the revolution in 1949, he executed several paintings on poetic themes borrowed from the works of Mao Zedong (1893-1976). His monumental painting created for the people’s assembly in 1959, also based on a poem by Chairman Mao, was emblematic of this political orientation. During his final years, the work of Fu Baoshi included a large number of works painted from life, notably during his travels in Romania and Czechoslovakia in 1957.
This large composition depicting a landscape in a storm reflects the creativity of the war years. In the preface to the 1942 exhibition, Fu Baoshi wrote that the landscapes of Sichuan had exercised a particular fascination on him. The monumentality of nature was evoked primarily through large areas inked in different tones: intense in the foreground and lighter in the background. The surface of the rock faces is rendered with a dry brush. The depiction of rain with long streaks of water and splashed ink was one of Fu Baoshi’s major innovations. The sails of the boats at the bottom of the gorge and the fragile constructions on the top of the mountain both contribute to a sense of disproportion in the face of nature.