Author: 吴冠中
Size: 61*74cm
Signed and dated: Dated 1985
Estimate:
Final Price: --
LITERATURE：1.Wu Guanzhong Art， illustrated 30， Hebei Art Publishing Press， 2nd Edition， Oct. 1986
2.Wu Guanzhong Art Form Analysis， pp. 90， 91， Sichuan Art Publishing House， 1st Edition， March 1988
3.Chinese Contemporary Oil Painting， Exhibition Catalogue Front Cover， The Empress Place Museum， Singapore Lianhe Zaobao & China National Publishing Industry Trading Corporation， Oct 1989
4.Wu Guanzhong Art， illustrated 110， Sichuan Art Publishing House， 1st Edition， Jan 1990
5.The Art of Wu Guanzhong， Front Cover & illustrated 56， PG Publishing Pte Ltd （Singapore）， 1991
6.Wu Guanzhong Self-Selected， p. 55， China Beijing Oriental Publishing House， 1st Edition， 1992
7.Wu Guanzhong’s Oil Painting Desk Calendar 1992， Month of May， Rendezvous Restaurant Hock Lock Kee （Singapore）， Jan 1992
8.Wu Guanzhong： A Journey of Individualism， illustrated 2， Notices The Gallery （Singapore）， Nov 1994
9.Find Friend on Earth： A Collection of 1990’s Works by Wu Guanzhong， p.118， Beijing Foreign Language Publishing House， 1st Edition， 1995
10.The Landscape of Life Vol. II： Wu Guanzhong’s Album in Art， pp.26 & 27， Sanlian Book Store， 1st Edition， Sep 2003
11.World Famous Painter： Wu Guanzhong， p.182， Heibei Education Publishing House， 1st Edition， Dec 2006
12.Wu Guanzhong Art Collection， in the progress of publishing， Changsha Hunan Publishing House， 1st Edition estimated completion in Jun 2007
signed Tu and dated 1985
EXHIBITED：Contemporary Oil Paintings of China， The Empress Place Museum， Singapore， Oct 1989； Wu Guanzhong： A Journey of Individualism， Four Seasons Hotel， Singapore， Nov 1994
There are no other comments than Wu Guanzhong’s own words on this painting can perfectly represent the artistic intention of the master. Wu said that， the Rich Mansion surrounded by a form construction. The big black roofs， the big black windows and the dark green pool connected with the lines of branches and walls served together to guard for the mansion. These forms did not stand separately； they embraced and supported each other， existed in a relationship of harmony. In addition， the picture gave spectators a sense of moving. The roof facing at the pool， just like a man， its emotion also became excited for the activity of water. The big black of the window in the left of the picture stood steady at its position regardless of its relationship with the wall. The wall， which did also regardless of the windows’ departure， wanted to connect with the branches. The white walls all surrounded by these dark forms， become the focus of the picture. There is a smaller window in the heart of the white wall， in front of which stood a man. The black stairs connected with the dark hole of the bridge， from which water flowed out into the pool. There are several white geese swimming in the pool， formed a harmony relationship with the white wall. The artist wanted to represent the Chinese traditional landscape with western oil painting language， expressing his feeling to the China
culture and heritage. The Rich Mansion is also a milestone in the development of Chinese contemporary oil paintings. Here it supplies an opportunity for the collectors again.
