Old Street
Old Street Old Street Old Street Old Street Old Street Old Street Old Street Old Street

Emerging

Old Street

Artist Li Peizhong
Creation Date 2019
Material Oil on canvas
Size 80 x 80 cm
Theme Village
Acquire this artwork Available

Current total $4,930.00

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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

Someone rounds the corner of the old street and vanishes, and the afternoon closes behind them. The street is not architecture but accumulated time — rooftops and walls blurring into the same brown and grey, each surface carrying the residue of decades. Footsteps on stone worn smooth, a shutter half-open in a breeze that no longer reaches this part of town: Li Peizhong paints not a place one visits but a place that used to be, and the pull of forgotten afternoons becomes physical.

The surface is dense, almost geological. Thick impasto strokes build the walls in layered browns and greys, each ridge a year of rain and wind. Where light touches the rooftops, thin washes of muted green and violet slip through — not colour for beauty, but the way evening light behaves on old northern Chinese tiles. Some passages are scraped thin, revealing canvas beneath, while others pile paint so thick one could read it with fingers. Red touches scatter through the lower register — a door frame, a shirt, a patch of wall catching the last sun — small human signals refusing to be buried.

There is something here that brings to mind Antonio López García — the way the Madrid painter could spend decades on a single streetscape, not adding detail but adding time, until the buildings stopped being structures and became deposits of looking. Li Peizhong works in that same spirit: the street is not recorded but absorbed, and what hangs on the wall is the residue of that absorption — feeling rather than document. Oil on canvas, 80 × 80 cm.

Theme

Style and context

Li Peizhong's Old Street belongs to a tradition of Chinese urban-landscape painting that emerged in the 2000s as rapid urbanisation began erasing the old neighbourhoods of China's northern cities. Painters in Shenyang, Tianjin, and Beijing turned toward vanishing streets — not as documentary records but as emotional topography. The Russian academic tradition that shaped northeast Chinese art education left its mark on Li's handling: tonal weight, plein-air practice, and atmospheric depth remain visible even as his surfaces grow thicker and more gestural.

Internationally, Li's restless impasto and dissolving architecture find a counterpart in Chaim Soutine's village streets, where houses similarly lean and vibrate under heavy, nervous strokes. Both refuse architectural precision: buildings lose their edges, becoming colour-events rather than structures. Soutine's streets feel on the verge of collapse; Li's carry the quieter weight of memory — the buildings stand as ghosts of what they once were.

Artist Profile

Artist introduction

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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