Li Peizhong, 2022, After the Snow, cream and violet snow covering village roofs and road with a heavy tree at right and two close figures near a yellow-leaved tree

After the Snow by Li Peizhong, oil on canvas, 60 × 80 cm — detail view 1

After the Snow by Li Peizhong, oil on canvas, 60 × 80 cm — detail view 2

After the Snow by Li Peizhong, oil on canvas, 60 × 80 cm — detail view 3

After the Snow by Li Peizhong, oil on canvas, 60 × 80 cm — detail view 4

After the Snow by Li Peizhong, oil on canvas, 60 × 80 cm — detail view 5

After the Snow by Li Peizhong, oil on canvas, 60 × 80 cm — detail view 6

Emerging

After the Snow

Name: After the Snow
Brand: Paint For Heart
Price: 1293.0 SGD
Availability: InStock

Artist Li Peizhong

Creation Date 2022

Material Oil on canvas

Size 60 x 80 cm

Category original

Make this artwork part of your collection Available

Current total $1,293.00

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Perspectives

A closer look

Artwork Notes

Art appreciation

A broad snowfield extends from the lower edge to a narrow band of buildings and walls. A large tree on the right is cropped by the frame, its trunk and branches anchoring the foreground. The finer central tree forks upwards, and its remaining yellow leaves are sharply visible against the snow. Two small figures occupy a turn in the road. One is darker and the other lighter; they appear to walk together or pause at the bend. Their physical closeness gives the winter village a modest sense of companionship and daily life.

Cream, pale yellow, violet and blue-grey strokes repeatedly cover the snow, with especially loaded highlights accumulating along the roofs. Cool purple shadows cross the road diagonally and clarify the ground. Buildings and distant trees are thinner mixtures of brown-grey and blue-grey, their edges softened by reflected light. The figures require only a few dark and warm marks to become a precise focal point within the restrained tonal range.

Li Peizhong trained in Shenyang within an artistic environment shaped by Russian academic ideas of tonal weight, plein-air light and atmospheric depth. Snow provides an exacting subject for that training, carrying colour from sky, trees and earth into every shadow. Including two figures links the tonal study to lived experience, so the village reads as an inhabited place rather than a collection of snow-covered structures.

Theme

Style and context

Realist and Impressionist painters have long treated snow as a study in reflected light. It weakens local colour and draws the hues of sky and surroundings into shadow. After the Snow preserves the spatial relations of houses, road, trees and figures, then describes reflection through separate strokes of violet, blue-grey, cream and pale yellow.

Li Peizhong’s Russian-influenced tonal training is closely suited to this winter subject. The large snowfield approaches an abstract colour plane, while the cropped tree, yellow leaves and two companions provide concrete anchors. Tonal structure, outdoor light and inhabited village life support one another within the same view.

Artist Profile

About the artist

Li Peizhong (b. 1957, Shenyang) is an oil painter based in northeast China and a member of both the Chinese Arts and Crafts Artists Association and the Liaoning Provincial Artists Association. He trained in Shenyang during a period when the city's art academies were strongly influenced by the Russian academic tradition, and that inheritance — its emphasis on tonal weight, plein-air practice, and atmospheric depth — remains visible in his work today.

His primary subject is the northern Chinese landscape: the farmlands, rivers, and seasonal shifts of Liaoning and its surrounding provinces. He paints these scenes in a style that combines the heavy, earthy tonalities of the Russian landscape school with the brighter chromatic handling and light sensitivity of European Impressionism. Still life — flowers, fruit, household arrangements — forms a secondary but consistent part of his output.

Professionally, he has served for decades as art editor-in-chief at a children's newspaper publishing house in Shenyang, a position that has given him a long-term, stable base for his painting practice. His work has been shown in regional and national exhibitions across northeastern China.

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