Jiang Qingbei’s Late Autumn, 2003, with rows of white birch trunks rising through gold leaves and rust-red undergrowth beneath a blue-grey sky

Late Autumn by Jiang Qingbei - original artwork view

Late Autumn — vertical birch forest composition detail

Late Autumn — golden autumn color palette detail

Established

Late Autumn

Name: Late Autumn
Brand: Paint For Heart
Price: 12646.0 SGD
Availability: InStock

Artist Jiang Qingbei

Creation Date 2003

Material Oil on canvas

Size 60 x 80 cm

Category original

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Current total $12,646.00

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Perspectives

A closer look

Artwork Notes

Art appreciation

Birch trunks run through nearly the full height of the composition. Their widths and intervals vary: nearer trunks bend slightly and carry broken black markings, while finer stems accumulate in the distance. Golden foliage survives higher in the wood; below it, shrubs have already turned brown and red. This vertical progression shows the season changing at different rates within the same stand of trees.

White paint is dragged and deposited over the trunks, then partly reclaimed by surrounding browns so their edges remain embedded in the forest. Leaves are made with dabs, sweeps, and scattered fragments of gold, orange, blue-violet, and occasional green. The foreground is dense and heavily worked; the distance is thinner and cooler. Paint thickness therefore clarifies both the tangled plants underfoot and the recession between successive rows of trunks.

Jiang Qingbei repeatedly painted northern skies, rivers, forests, and remembered homes after studying Chinese, French, and Russian approaches to oil painting. In Late Autumn, he gives the birches a firm drawn structure but lets the undergrowth gather through freer touches and scraped passages. The contrast explains his interest in joining observed light with the broader economy of Chinese expressive brushwork. Remaining yellow leaves, bare upper branches and the brown forest floor mark the change from late autumn towards winter.

Theme

Style and context

Impressionist landscape brought sustained attention to changing light, while Chinese ink traditions valued the expressive unity of brushwork, emptiness, and mass. Jiang Qingbei joins aspects of both within oil painting. The birch trunks give this work a stable observed structure; looser leaves and a heavily worked forest floor preserve the sensation of change.

Jiang studied Chinese, French, and Russian approaches to oil painting and has long sought a meeting point between Western colour and the spirit of spontaneous ink landscape. The work does not imitate ink visually. Its kinship lies in the broken intervals between trunks and the way scattered marks cohere as one movement. White, gold, brown, and blue-grey lead the eye through a specific wood while sustaining the sweep of the whole.

Artist Profile

About the artist

Jiang Qingbei was born in August 1953 in northern Anhui. At seventeen, he followed his father into the coal mines of northeastern China, an experience that gave lasting force to the contrast between underground darkness and the open light of northern landscapes. He later studied stage art at Heilongjiang Provincial Art School, oil painting at the Lu Xun Academy of Fine Arts, the Claude Yvel Oil Painting Workshop in France, and the Bestrov research class at the Repin Academy of Fine Arts in Russia.

His landscape practice combines Western Impressionist technique with elements of Chinese ink-wash landscape feeling, often emphasizing blue skies, green pine forests, clear rivers, glowing evening light, and the memory of village houses and smoke. Jiang has held roles including president of the Dafen Oil Painting Village Artists Association and vice chairman of the Longgang District Federation of Literary and Art Circles in Shenzhen. In 2018, the Jiang Qingbei Art Museum was established in Guangzhou, housing more than 200 representative works.

His exhibition record includes selection for the 1st China Oil Painting Exhibition in 1987, solo exhibitions in Tokyo and Nagasaki in 1997, a solo exhibition in Austria in 1998, and a Gold Award at the 11th China Art Fair in 2004. Beyond his own painting, he founded a free painting training program for disabled students in Dafen Village in 2007, personally supporting materials and instruction for more than 120 students.

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