Hundred Flowers by Li Peizhong, 2022, with dense yellow, white, orange, pink and violet blossoms rising through vertical stems from a dark ground

Hundred Flowers detail with the 2022 date and signature beside orange and red blooms over blue-green strokes

Hundred Flowers — dense wildflower brushwork detail

Hundred Flowers — orange and gold flower detail

Hundred Flowers — green background and floral texture detail

Hundred Flowers — surface texture detail

Emerging

Hundred Flowers

Name: Hundred Flowers
Brand: Paint For Heart
Price: 2530.0 SGD
Availability: InStock

Artist Li Peizhong

Creation Date 2022

Material Oil on canvas

Size 100 x 80 cm

Category original

Make this artwork part of your collection Available

Current total $2,530.00

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A one-of-a-kind original This is the only original.
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Perspectives

A closer look

Artwork Notes

Art appreciation

The flowers form zones of changing density from bottom to top. Dark violet, brown-red and deep green weigh down the lower area, where orange-yellow and white heads emerge. Bright yellow and cream gather most densely across the centre, before ochre flowers give way to the dark upper ground. No single bloom governs the composition. The eye shifts among white heads, orange centres, violet shadows and narrow stems. Intervals of different value preserve depth across a completely filled field.

Most flower heads are built with short brush turns and knife-like deposits. Paint sits thickly, retaining scraped edges and bristle marks. Yellow, pink and white are sometimes laid directly over the dark base, leaving abrupt joins; purple, brown and green form narrow gaps between blossoms. Several stems and leaves are pulled into long vertical strokes that connect the colour zones. Some flowers remain distinct while others loosen through overlap, giving the representational subject the force of a colour construction.

Li has long painted northern landscapes, flowers and familiar still-life subjects. His work combines the tonal weight associated with Russian academic painting and an Impressionist sensitivity to broken light and colour. Hundred Flowers presses both concerns into a dense surface: the purple-brown ground carries physical weight, while yellow, orange and white appear as distributed light. The full-field composition lets the colour movement of the entire growth take precedence over the anatomy of one flower.

Theme

Style and context

From the late nineteenth century onwards, garden and flower painting moved beyond centrally arranged bouquets. When the painter approaches a bed of flowers, horizon and vessel disappear, and repeated petals, stems and points of light become the basic units of composition. Hundred Flowers follows that close viewpoint and retains enough floral structure to remain a representational flower painting, even where some forms approach abstraction.

The full field also exposes the physical process. Accumulation, scraping, overlap and descending marks correspond to the density and direction of growth. Li does not identify every species; he uses value, temperature and spacing to hold the many heads together. Observable flowers and specific handling give the surface its sustained abundance.

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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