The Book, Cat, & Cat Book Lovers Almanac

of historical trivia regarding books, cats, and other animals. Actually this blog has evolved so that it is described better as a blog about cats in history and culture. And we take as a theme the advice of Aldous Huxley: If you want to be a writer, get some cats. Don't forget to see the archived articles linked at the bottom of the page.

May 24, 2012

May 24, 2008

On May 24, 2008, a painting by Chinese artist Zeng Fanzhi, set a record for Asian contemporary art (up to that time). “Mask Series 1996 No. 6,” a large diptych, sold for $9.7 million at a Christie’s auction in Hong Kong.

In 2011, at the same auction venue another canvas of Zeng Fanzhi's, "The Leopard," painted in 2010, was also newsworthy. This was a charity auction, and all proceeds benefited The Nature Conservancy. Even Christies donated their own cut to the nonprofit.

According to the article in Artdaly---

.On a monumental canvas standing nearly three meters tall, Zeng presents a solitary and ill lit leopard, moving cautiously through a dark forest. The foreground of the composition is dense with Zeng Fanzhi‟s characteristically expressive brushwork, depicting a thicket of dry, lifeless branches with no order other than the insinuated drive to envelope the protagonist. The depth of the landscape is delineated by mysterious flairs of white and the powdery blue snow embankment. The leopard is shown passing over this ridge, against an infinite black sky, peppered with flakes of snow, behind him. The surface of the canvas is built up through a range of brushstrokes ranging from the broadly expressive to the truncated, calligraphic branches, and the soft inviting texture of the animal.
Some areas of the composition seem deliberately blurred, as an audience‟s vision would be in trying to gaze through a snowstorm. The handling of the leopard is particularly evocative, highlighting the soft subtle beauty of its coat, varying from white to ochre to soft amber, speckled with its black spots and the snow gathering on its back. Its gaze is almost shockingly human. A viewer, who knows Zeng's practice, becomes aware that the artist has afforded the animal a greater humanity than his human figure-based paintings.

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