final summary

relational aesthetics

At who's expense is Art made?

Understanding the topic..

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Chen Wen Hsi
Worker
Western Painting
77 x 61 cm


Chen Wen Hsi
Jaring-Jaring Ikan - Fish Nets
1970
Chinese ink and colour
51 cm x 61 cm


Chen Wen Hsi
Indian Children


Chen Wen Hsi
The Ferry


Chen Wen Hsi
Malay Girls

global- local

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Four Paintings on Gibbons

Chen Wen Hsi
Playful Gibbons
Chinese ink and colour on paper
60.5 X 60.5cm


Chen Wen Hsi
Call in the Valley
Chinese ink and colour on paper
360 X 145.5cm


Chen Wen Hsi
Noon
Chinese ink and colour on paper
34.5 X 68.5cm


Chen Wen Hsi
Chinese ink and colour on paper
Playful Gibbons
304 X 106cm

His signature:

Chen Wen Hsi's signature on every piece of his work


Chen Wen Hsi
Herons
Chinese ink and colour on paper
36 X 48cm

Interstitial space

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Chen Wen Hsi
Sunset Sails
Chinese ink and colour on paper
72 X 44.5cm


Chen Wen Hsi
Community
Chinese ink and colour on paper
69 X 140cm


Chen Wen Hsi
Squirrels
Chinese ink

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Grazing by (1965)
Oil on canvas
105 x 130 cm


The Couple, undated 1950s
Chen Wen His
Oil on Canvas

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Chen Wen Hsi
Black Fields
Chinese ink and colour on paper
72X 124cm


Rothko, Mark Sienna
Orange & Black on Dark Brown
1962
Oil on canvas
193 x 175 cm

Neo tradition / Space of Authencity

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Kline, Franz
Untitled
1957
Oil on canvas
200 x 158.5 cm


Kline, Franz
Painting Number 2
1954
Oil on canvas
6'8 1/2" x 8'9" (204.3 x 271.6 cm)


Chen Wen Hsi
Straighten Up
Chinese Ink on paper
69 X 137cm


Chen Wen Hsi
Tree Branches
Chinese ink and colour on paper
74.5 X 69.5cm

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Piet Mondrian
Composition with large blue plane, red, black yellow and gray
1921


Chen Wen Hsi
Blue and Red
Chinese ink and colour on paper
42.5 X 63cm

Thoughts about translation

Understanding Key Issues



The concept map depicts the connections of translation, where it is not only applicable to language, but also to the study of art. Translation in Art takes place when its techniques, styles and perspectives experience high fluidity in crossing country borders. (The East influenced even aspects of western Art- slower pace of development in futurism) In this reflection, translation of Western Art, which is evident in Chen Wen Hsi’s works will be analysed, by looking especially at the formal analysis of his works.

The Nanyang Style
Chen is a versatile painter who never fails to stop exploring. With his exposure to both Chinese ink painting and Western art movements, he combines the elements to achieve the Nanyang style, which was unique to SE Asians.


Chen’s interpretation of “East meets West”

Herons, 1990
Chen Wen Hsi
Chinese ink and colour on paper


Morning in the Village after Snowstorm (Utro posle v'iugi v derevne), 1912
Kazimir Malevich,
Oil on canvas
31 3/4 x 31 7/8 inches

'Herons' shows the influence of Futurism, where movements of objects were fragmented, and segmented; several impressions of the herons were painted with echoes of lines and volumes. However, Chen avoided the mimesis by painting the composition in Chinese ink, using conservative colours like dull shades of red, green, with generous white negative spaces, using outlining with black and white strokes, which has the characteristics of “fei bai”; the random white spaces left behind by spontaneous brushes strokes in Chinese paintings.


Western elements in Nanyang style

The Couple, undated 1950s
Chen Wen His
Oil on Canvas


André Derain, 1905
Henri Matisse
oil on canvas
46.0 x 34.9 cm


Self-portrait, 1907
Picasso, Pablo

In 'the couple', which he did in Bali, bright colours were used to depict the decorative styles of SE Asian Art, which reminds me of the vivid, non-naturalistic and exuberant colours of Fauvists. Bold, expressive brushstrokes were evident too and lines were drawn to create angular forms to resemble that of Cubism’s.