Listening to the Spring
Listening to the Spring Listening to the Spring Listening to the Spring

Established

Listening to the Spring

Artist Li Tiexiang
Creation Date 2022
Material Oil on canvas
Size 78 x 78 cm
Theme Nature
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Current total $11,194.00

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  • Unique original Only one available.
  • Certificate Authenticity document.
  • 14-day returns After delivery.
  • 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

A narrow stream enters from the lower left, dark and cool against the bright grass. Beside it, a single pale horse stands quietly in a square woodland clearing, as if pausing to listen to the hidden sound of water. Around the horse, the trees break into gold, orange, green, and shadow, turning the whole scene into a small pocket of light held inside the forest.

Li Tiexiang builds this stillness through thousands of broken colour touches rather than smooth description. The leaves shimmer because no single colour is allowed to settle; yellow, orange, green, and violet sit beside one another until the eye blends them into air. The horse is softer and calmer than the surrounding foliage, placed like a pause in the middle of the meadow, while the dark stream keeps the composition grounded and gives the title its quiet source.

Listening to the Spring belongs to the Neo-Impressionist tradition without feeling like a historical exercise. Its pointillist surface recalls Georges Seurat's belief in optical vibration, but Li uses that method for tenderness rather than distance: one animal, a small spring, and a forest holding its breath. The square format makes the moment feel enclosed and complete, like a private clearing one has just discovered. Oil on canvas, 78 × 78 cm.

Theme

Style and context

Listening to the Spring draws on Neo-Impressionism and Pointillism, but its purpose is pastoral rather than scientific. The broken colour method creates optical movement across the trees and grass, while the square format keeps the scene intimate. Li Tiexiang uses a European optical language to describe a quiet, contemporary Chinese woodland image, making technique serve silence rather than spectacle.

A useful comparison is Paul Signac, who carried pointillist colour into brighter, more lyrical settings after Seurat. Li's treatment is gentler and less architectural: the single horse, the stream, and the dense forest canopy turn broken colour into a mood of listening. The work sits between academic oil training and a softer modern pastoral sensibility.

Artist Profile

Artist introduction

Li Tiexiang, born in 1954 to a Mongolian family, graduated from the Oil Painting Department of the Lu Xun Academy of Fine Arts in 1984 and now lives in Shenzhen. He serves as chairman of the Shenzhen Dafen Artists Association and is a member of the China Artists Association, Liaoning Artists Association, and the Shenzhen Artists Association council. In 2014, he was named an Outstanding Expert of Longgang District, Shenzhen.

His practice is grounded in academic oil-painting training while remaining open to atmosphere, light, and emotional quiet. Working primarily in oil on canvas, Li moves between landscape and figurative subjects, often using colour, texture, and spatial stillness to create scenes that feel contemplative rather than narrative. His Mongolian background and northern training give his work a particular sensitivity to distance, climate, and the presence of figures or animals within open space.

His exhibition record includes a solo oil-painting exhibition in China in 1997, two solo exhibitions in Tokyo in 2001, Mother and Child receiving an Excellence Award in the Liaoning section of the 10th National Art Exhibition in 2004, Naqu Girl being selected for the 4th Beijing International Art Biennale in 2010, The Call from Afar entering the 2nd National Young and Middle-Aged Oil Painting Exhibition in 2013, and a solo exhibition at the Guangzhou Museum of Art in 2014. His works are held by private collectors, museums, and art institutions in China and abroad.

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