Landscape
Landscape Landscape Landscape Landscape Landscape Landscape Landscape Landscape

Master

Landscape

Artist Yang Fuxu
Creation Date 2019
Material Oil on canvas
Size 120 x 50 cm
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Current total $13,418.00

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  • Free shipping Included worldwide.
  • Secure checkout Encrypted payment.
  • Unique original Only one available.
  • Certificate Authenticity document.
  • 14-day returns After delivery.

Artwork details

Analysis and context

Artwork Notes

Painting analysis

The painting opens slowly, like a river seen after rain. A pale band of water moves across the long canvas, holding the blue-grey sky, low banks, and distant trees in one quiet horizontal breath. The trees do not dominate the scene; they stand lightly along the edge of the water, small vertical notes against a wide field of mist and reflection.

Yang Fuxu keeps the surface restrained but never empty. The water is built from broad, flattened brushwork, while the banks carry denser ridges of paint that give the land a firmer weight. White and blue-grey tones soften into each other across the sky and river, and the small broken marks around the trees keep the stillness from becoming static. The technique makes the silence feel layered, as if the air and water have been painted into the same slow temperature.

Landscape belongs to Yang's quieter side: rural memory translated into open space rather than narrative detail. It has a kinship with the tonal calm of James McNeill Whistler's river views, though Yang's horizon feels more grounded and tied to Chinese countryside experience. The work suits a space that needs breadth and composure, not decoration for its own sake. Oil on canvas, 120 × 50 cm.

Theme

Style and context

This work belongs to a contemporary Chinese landscape tradition shaped by oil painting but still conscious of older panoramic habits. Yang Fuxu reduces the scene to horizon, water, bank, and tree forms, allowing atmosphere to carry the emotional weight. His training through Guangxi and later Beijing-based study gives the painting an academic discipline, but the mood remains closer to rural memory than to studio display.

The international parallel is Camille Corot, especially in the way softened landscape structure can hold feeling without becoming theatrical. Corot often let tone and distance do more than dramatic incident; Yang's difference lies in the rural Chinese ground beneath that restraint. The painting does not seek spectacle; it belongs to a lineage where silence, distance, and remembered land become the real subject.

Artist Profile

Artist introduction

Yang Fuxu (b. 1980) trained at the Guangxi Academy of Arts before completing advanced studies at the Central Academy of Fine Arts in Beijing and the China Federation of Literary and Art Circles' programme for emerging cultural leaders. A member of the Chinese Artists Association, he is recognised among China's new literary and art community — a designation for artists outside the traditional state academy system who have achieved national prominence.

His exhibition record spans more than a decade: selections for the Fengyu Southwest exhibition (2013), a Bronze Award in the New Wheat Field programme (2019), and inclusion in the national Era, Portrait exhibition (2023). His paintings are held in private collections across China.

His practice is organised around several thematic series — the Homeland and Duijiagou paintings explore rural earth through intimate close-up perspectives, the Dancer series anthropomorphises trees as carriers of childhood memory, and the Brilliant Night works carve luminous passages from dense layers of darkness. Across all series, his painting balances rootedness in Chinese soil with contemporary formal experimentation.

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