Li Peizhong, 2025, Bloom - Still Life Sketch, a transparent vase holding yellow and pink-purple flowers, with trailing clusters and fallen flowers across the table

Bloom - Still Life Sketch — purple flowers and yellow accents detail

Bloom - Still Life Sketch — glass vase and green stems detail

Bloom - Still Life Sketch — loose floral brushwork detail

Bloom - Still Life Sketch — daily floral still life colour detail

Emerging

Bloom - Still Life Sketch

Name: Bloom - Still Life Sketch
Brand: Paint For Heart
Price: 1414.0 SGD
Availability: InStock

Artist Li Peizhong

Creation Date 2025

Material Oil on canvas

Size 50 x 60 cm

Category original

Make this artwork part of your collection Available

Current total $1,414.00

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Perspectives

A closer look

Artwork Notes

Art appreciation

The vase stands slightly below the centre and its upright cylinder supports a roughly triangular crown of flowers. Yellow blossoms occupy the middle and upper left, while pink and purple clusters circle the outer edge and trail down at right. Fallen flowers extend from the base towards the right and several leaves lie separately on the left. These near details carry the bouquet’s weight onto the table and balance the upright mass against the trailing cluster and fallen flowers.

Short, loaded strokes build the flower heads. Orange, white and touches of green enter the yellows, while the purple blossoms shift through pink, mauve and wine red. Individual petals are not enclosed by hard outlines, yet direction and value keep the heads distinct. Brown-green and white vertical marks describe the transparency of the vase, with crossed stems visible inside. Thinner grey-green paint in the background allows the heavier petals to advance.

Flowers and everyday still life have remained an important part of Li Peizhong’s practice. The Russian academic tonal training he encountered in Shenyang supports the bouquet’s weight and cohesion; his engagement with Impressionist light and colour allows yellow, violet and green to meet directly in the brushwork. By including open blooms and fallen flowers in the same study, Li records different states observed over time without turning them into a moral allegory.

Theme

Style and context

Flower still life has long provided painters with a way to study colour, light and texture, as well as the brief progression from bloom to decline. During the nineteenth century, artists loosened exact contours and used separate touches of colour to retain the immediacy of observation. Modern Chinese oil painting absorbed these methods through academy training, and flower studies gradually developed into individual works in their own right.

Bloom – Still Life Sketch keeps vase, bouquet and tabletop clearly organised while concentrating on yellow-violet contrast, transparent glass and variations in paint thickness. Some blossoms remain upright in the vase and others lie on the table, making change over time visible. Li brings together direct study, integrated tone and open handling in a complete composition.

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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