Chu Teh Chun - Nature In Abstraction, 朱德群-隱藏於抽象中的自然 by de Sarthe Gallery

CHU TEH-CHUN

CHU TEH-CHUN NATURE IN ABSTRACTION

CHU TEH-CHUN

朱德群

CHU TEH-CHUN

朱德群

Nature in Abstraction

Chu Teh-Chun Jardin du Luxembourg, Paris 1956

「如范寬說過與其師於人者，未若師之物；與其師之物，未若師於心，所謂師於心者，即是以畫家為主宰，並已有抽象的概念。可是中國人沒有把抽象這兩個字講出來而已。大自然經過畫家的思想融合和提煉，其中即是畫家的幻想力、修養和個性之內涵流露於畫面上，中國繪畫和抽象畫的想法不謀而合」朱德群

“Fan Kuan has said that ‘learning from nature is better than learning from man, and the human heart is an even greater source of learning than nature.’ What he meant was that it is the painter who is in control, and that a concept of abstraction already existed in his time. The Chinese people just didn’t use the term ‘abstraction,’ that’s all. The artist absorbs what he sees in nature and refines it in his mind, and what is revealed on canvas is the power of the artist’s imagination, his sensibility, and his inner character. This is where the concepts behind Chinese painting come together with the idea of abstraction.” Chu Teh-Chun

Reflection on Chu Teh-Chun by Wu Guanzhong Inserts from the catalog of the exhibition: Profound Image, A retrospective of Chu Teh-Chun Hong Kong Museum of Art, 1997

朱德群走過了漫長的藝術歷程。漫長，不僅僅是指他辛勤耕耘了60年，而指他從東方到西方，從具像到抽象的探索，探索之艱苦與收穫之難得。他開始學藝於國立杭州藝專，打下了堅實的造型基礎，更得益於林風眠、吳大羽及潘天壽等幾位高瞻遠矚的教授的啟蒙，很早接觸到西方現代藝術和民族傳統藝術，並特別重視其精華與糟粕的識別，這識別，影響了畫家終生的航向。朱德群在寫實或寫意的作品中，牢牢把握作品的美感，亦即形式美的推敲。面對具體對象，更吸引畫家的是對像中形的構成、線的組合、塊面的安排、色彩的呼應等等。他在這一領域中追求了20年，從杭州到重慶，到南京，到台灣，基本上是“吾道一以貫之”。 1955年到巴黎定居後，情況慢慢開始演變。其時抽像畫風覆蓋巴黎甚至整個西方畫壇，在朱德群看來，抽像畫所表現的構成、起伏、進退、蜿蜒、奔瀉、濃縮、擴散、虛實、韻律等等因素，本都隱隱約約蘊藏在傑出的具像作品中，如今只是揚棄具象的軀殼，讓這些構成美感的因素獨立自由闖蕩畫面，創造新的視覺世界。德施代爾(N. de STAEL)的作品突出了塊面構成，但仍遺存具象的踪影，這對當時的朱德群頗有啟示，朱德群終於逐步跨入了非具象的探索。朱德群這位高個子北方人，曾是籃球運動員，體魄健壯，處處追求力度，初步跨入自由的抽象園地，他痛痛快快用大黑塊及或粗或細的黑線來抒發胸中豪氣，水墨畫的濃郁的黑、流暢的線於是湧進了他的油畫。中國傳統藝術中的大寫意、狂草、紋樣、隨方就圓的處理手法，都顯示了審美中的抽象品位，而太湖石當更是亨利·摩爾(HENRY MOORE)的知音。由民族藝術哺育過的朱德群到巴黎後不久遭遇到西方抽象藝術的挑戰，倒喚醒了他內心深處的東方神韻。從此他在抽象繪畫中搏鬥了40年，他嘗試過明暗相襯相咬，焦點聚光式的林布朗效果；跨越過通體明亮，淡雅色彩流瀉的宇宙氛圍；織造過線、面糾纏，複雜穿梭的迷宮景觀…… 朱德群作品中永遠在追求運動感，山雨欲來風滿樓，波濤翻滾中似見魚龍隱現，或令人感到十面埋伏，草木皆兵。他用大刀闊斧而多轉折的筆觸構成主旋律，用鮮明的色塊或鋒利的線條來擊節，奏出最強音。 1993年我的12歲的小孫孫跟我到巴黎德群家做客，德群翻出新作，寬敞的工作室裡展開一幅幅巨大的畫面，我們高談闊論，旁若無人，小孫孫伏在地上默默看，悄悄聽，他像隻小狗，我們忘記了這小傢伙的存在。深夜回到公寓，我才想起問小孫孫：“你在朱爺爺的畫上看到了什麼？”他發議論了：“這些都是抽像畫，但抽象裡有許多具象的東西。”我追問：“什麼東西？”他搖頭晃腦思索片刻：“有戰爭，有街市，有燈光射進了溶洞，有高山流水……”我拍拍他的小腦袋，他爸媽也讚揚他，他似乎真的成了評論權威了。兩家門下轉輪來，具象與抽象絕非格格不入，實質上兩家原屬一家，營造美感之家。如果具象繪畫中缺乏抽象的美之因素，則畫得再“像”，再精緻，卻無美感。一位中國農民曾猶豫地評論我的一幅失敗了的作品：畫得很像。但對另一幅我自己認為滿意的作品，他脫口而出：很美。我這兩幅畫都是以具象面貌出現的，美與“像”熟重熟輕？抽象藝術愈來愈普及了。以鬼畫桃符充抽象繪畫來唬人的空頭美術家正大量繁衍，這當由於抽像作品還不夠普及，魚目混珠何時了，今朱德群的作品終於能回到祖國展出，給了我們一個難得的參照機緣。 12歲的孩子從抽像中看到了多樣具象，而作者經半個多世紀的探索，才在具像中發現、提煉出美感之抽象精英，幸運的兒童品嚐了作者六十多年才出窖的佳釀.../...

德群首先著眼於畫面的全局效果。遠看西洋畫，西方繪畫近建築性，著眼於上牆後的遠距離效果，這方面卻往往是我國傳統繪畫的薄弱環節。中國畫講究可讀、可遊，《江山臥遊圖》甚至是躺著品味的。中國有人說西洋畫是“近看鬼打架”，這當指印象派以後的作品，鬼打架不一定都屬缺點，而中國傳統則從筆墨的運轉及就絹或宣紙的質地特點創造了宜近視耐看的肌理。德群在粗獷的油彩揮寫中竭力發展中國的筆韻墨趣，賦予筆墨以時代性與世界性。黏糊糊的油彩被德群改織成半透明的新裝，透明或半透明的效果本是宣紙特有的風采，願這種中華風采從祖傳秘方而飄揚寰宇。由於偶然又特殊的機緣，我因認識了德群而誤入藝途，從此我們患難與共，成了藝術道路中的生死之交。人生又使我們分道揚鑣五十年，終於又殊途同歸，對各自藝術上的發展過程，彼此一目了然，而且觀點始終頗接近，今日相敘猶如學藝之初朝夕相處的情況。少年同窗，今均已白髮滿頭，廉頗老矣，希能加飯，為發揚祖國藝術再做一份努力。吳冠中

Chu Teh-Chun has made a long journey in art. It is not just that he has been making art for 60 years, but also because he relocated from China to the western world – after which his style shifted from representational painting and began to explore the use of abstraction. Chu studied at the National College of Arts in Hangzhou in China, where he was taught with a solid base of fundamental skills in art. He was enlightened by his remarkable professors at that time: Lin Fengmain, We Dayu and Pan Tianshou who provided insight into both Western Modern Art and traditional Chinese Arts. In the college Chu gained understanding of the distinctions and strengths of both Western art and Chinese art, and this has affected his aesthetic style ever since. Chu’s representational or abstract paintings reveal his experimentations in artistic form. What attracts him most in painting are the formation of shapes, the combination of lines, the arrangement of forms and the use of colors. This stage of development lasted for twenty years, during this period of time Chu had moved from Hangzhou to Chongqing, later to Nanjing, and then to the island of Taiwan. In 1955 Chu Teh-Chun made his home in Paris, and thereafter things started to change. At the time the art scene in the Western world, including Paris, was overwhelmed by Abstract Expressionism. To Chu, the visual elements of Abstract Expressionism, for example: construction, brushstrokes, marking, intensity of color, space, rhythm, could all be found in representational painting. With the gradual abandonment of objective representation, emphasizing the pure visual art elements made them stand out more on the painting surface and these created a new visual experience. A contemporary of Chu, Nicolas de Staël, was one of the most influential French abstract painters whose works emphasized the use of forms and surface, though his works could be considered as abstract landscape paintings. Staël’s works had inspired and committed Chu to explore non-representational painting. Chu is a tall and strong Northerner, he used to be a basketball player when he was young. When Chu started creating abstract paintings he distinguished himself by his untiring energy, painting with vigorous black lines which he adapted from Chinese ink painting into his own works. The freely

expressive style, cursive script and wavy patterns in traditional Chinese art seem to share the similarity to aesthetic values in abstract art. When Chu first discovered abstract painting in Paris, as a painter trained with artistic techniques in traditional Chinese art, he saw the aesthetics of ancient Chinese art in abstract art. In the following forty years Chu tried out different working methods in making abstract paintings: using chiaroscuro-style strong contrast of light and darkness to create the “Rembrandt effect”, or creating a soft mood with transparent, luminous bright colors, sometimes he painted interwoven and overlapping lines, crowding the painting surface with rich texture. The brush strokes and lines in Chu’s paintings always evoke a sense of Instantaneous movement, implicating the cosmic life force of nature. The bold and expressive brushstrokes sweep across the canvas, the vivid primary colors, forms and rhythmic angular lines makes Chu’s paintings so powerful. I visited Chu Teh-Chun’s studio in Paris with my twelve-year-old grandson in 1993. Chu showed me his latest mural size paintings in his large studio. We discussed the works very loudly. My grandson was lying on the floor and watching us quietly, Chu and I almost forgot his existence in the room. When I took my grandson back to my flat at night, I asked him “What did you see in Mr. Chu’s painting?” He voiced his opinion, “Those are abstract paintings, but there are a lot of recognizable things in the pictures.” “What did you see?” I asked. He shook his head and thought for a while, “there are walls, a market, light glowing in lime caves, mountains and a river.” I gave my grandson a gentle pat on his head, his parents praised him as if he had already become an insightful art critic. Representational art and abstract art are not incompatible with each other, actually both are associated with similar disciplines of aesthetics. The abstract elements (like lines and shapes) in representational painting are essential. In representational art accurate likeness between the painting and the original is not the only aesthetic judgment standard. A farmer once commented on my failed painting with hesitation: “it looks very much like it appears in real life”. When he saw my other painting his instant response was: “it is beautiful.” Both my paintings are representational works,

therefore resemblance has little connection to aesthetic value. Today abstract art has become very popular, but the quality of works varies widely – as the ancient Chinese proverb says “ fish eye mixes pearl”. Now Chu Teh-Chun’s works will be shown in China, and it gives us a good opportunity to see some good abstract paintings.../... Chu Teh-Chun always concerns himself with the overall composition of his works. Western painting traditionally stresses linear perspective and the representation of distance, but traditional Chinese painting does not have the concept of central perspective. Chinese painting is an artistic expression of nature, it allows viewers’ minds to wander in the landscape, that explains why some people claim the ancient painting scroll “Dream Journey Among Rivers and Mountains”(1662) could only be appreciated while lying down. Some Chinese criticize Western painting after Impressionism as gruesome and messy, but this is not necessarily a problem. Traditional Chinese painting on silk or shuen paper with ink gives a very different visual experience. Chu applies the ink wash technique with oil painting, to innovate traditional Chinese ink painting. He also thins the oil paint into transparent, luminous colors on canvas to create the significant bleaching effect of Chinese painting paper. I knew Chu Teh-Chun by chance; I also became an artist under his influence. Later we became friends and supported each other in our artistic journey. Then we parted for fifty years without seeing each other because of the circumstances. Finally when we met again after all these years, we could still understand each other’s artistic development and we still share similar views on art. We often discuss art as we used to when we were young students of the art college. Our hair had turned grey but we would put effort in the development of art in China. Wu Guanzhong

Chu Teh-Chun and Wu Guanzhong, 1994 13

PAINTINGS

UNTITLED 1957 Oil on canvas 23 5/8 X 23 5/8 inches 60 X 60 cm Signed and dated lower right 1957 Provenance Private collection, Paris

COMPOSITION 1959 Oil on canvas 51 1/8 X 31 1/2 inches 130 X 80 cm Signed lower left and signed, dated 1959 and titled #16 on verso Provenance Galerie H. Le Gendre, 31 rue Guenegaud, Paris Private collection Bruun Rasmussen Bredgade Copenhagen, Denmark Private collection, Paris

UNTITLED No. 195 1965-66 Oil on canvas 57 1/2 X 44 7/8 inches 146 X 114 cm Signed and dated center left 1966. Signed and dated 1965-66 on verso. Provenance Private collection, Paris

28 JUIN 1964 1966 Oil on canvas 51 1/8 X 76 3/4 inches 130 X 195 cm Signed and dated lower right 1966 Provenance Private collection, Paris

UNTITLED NO.229 1966 Oil on canvas 51 1/8 X 76 3/4 inches 130 X 195 cm Signed and dated center left 1966 Provenance Private collection, Paris Exhibition Chu Teh-Chun, Galerie Raeber, Luzerne, Switzerland, 13 February - 13 April, 1967

NO. 404 1971 Oil on canvas 63 X 78 3/4 inches 160 X 200 cm Signed and dated 1971 lower right Provenance Private collection, Paris

COMPOSITION 1979 Oil on canvas 25 5/8 X 19 5/8 inches 65 X 50 cm Signed lower right Provenance Private collection, Paris Exhibitions France, Paris, Accrochage Anniversaire a l’Institut Confucius des Pays de la Loire d’Angers, 25 November - 11 December, 2010 Literature Maison de l’Europe, “Ombres & Lumieres du Pays Pinceaux”, Chu Teh-Chun / Zao Wou-Ki, France, Paris, 2010, p.14

LE MONDE DU SILENCE 1985 Oil on canvas 25 5/8 X 21 1/4 inches 65 X 54 cm Signed and dated 1985 on verso Provenance Private collection, Paris

ALENTOURS VERDOYANTS 1988 Oil on canvas 38 1/4 X 25 1/8 inches 97 X 63.8 cm Signed and dated lower right 1988 Provenance Private collection, Paris Exhibitions Japan, Tokyo, THIN CHANG Corporation, Solo Exhibition of Chu Teh-Chun, 23 June - 10 July, 2007 Literature THIN CHANG Corporation, “Solo Exhibition of Chu Teh-Chun” Japan, Tokyo, 2007 (Illustrated, p.208)

CONTRASTE, 2006 Oil on canvas 28.74 X 36.23 inches 73 x 92 cm Signed lower right 2006 Provenance Private collection, Paris

Chu Teh-Chun in his studio, Bagnolet, France 1971.

BIOGRAPHY

Born October 24th 1920, Baitu Zhen, Xuzhou, Jiangsu province. China 1941 Graduated from the School of Fine Arts of Hangzhou The artist lives in Paris since 1955

Awards 1956 Silver medal, The Salon of French Artists 2001 Chevalier de l’Ordre des Palmes Académiques Chevalier de la Légion d’Honneur 2006 Officier de l’Ordre National du Mérite Médaille d’Or du Mérite Européen 2007 Elected to Académie Française

Solo Exhibitions 1958 Galerie du Haut-Pavé, Paris Galerie de Beaune, Paris Galerie Legendre, Paris 1960 Galerie Legendre, Paris 1962 Galerie Legendre, Paris Galerie Baier, Mayence, France Donner a voir, Galerie Creuze, Paris 1965 La Galerie de L’Université of Paris, Paris 1967 La Galerie Raeber, Lucerne 1968 Latzer Gallery, Kreuzlingen, Switzerland 1969 La Galerie Le Grall, Paris La Galerie Henri Gregoire, Marseilles Tenth São Paulo Biennial, São Paulo

1970 Galerie Royal Luxembourg, Nice 1971 Mikeldi Gallery, Bilbao 1977 Antiope Gallery, Sorrento Paul Bruck Gallery, Luxembourg Retrospective, Maison de la Culture, Saint-Etienne 1979 Galerie Suillerot, Paris Galerie Musée de Poche, Paris Galerie France, Bordeaux 1980 Galerie Arts et Lettres, Saint-Nazaire, France Syn’Art, Paris 1982 Maison de la Culture, Nantes Rétrospective de peintures et dessins de 1955 à 1982, Musée des Beaux Arts André Malraux, Le Havre 1983 Galerie Luxembourg, Luxembourg

1984 Théâtre municipal, Esch-sur-Alzette, Luxembourg 1985 Galerie Pierre Hubert, Geneva Maison des Arts et Loisirs, Sochaux, France Galerie Bellint, Paris Centre culturel municipal, Gentilly, France Galerie Suzanne Pons, Cannes 1986 The Hong Kong Institute for the Promotion of Chinese Culture, Hong Kong Galerie Bernard Jagot, Saint-Nazaire, France Galerie Bellecour, Lyon Centre d’Arts et Loisirs, Privas, France Galerie Hélène Trintignant, Montpellier 1987 Galerie Luxembourg, Luxembourg Retrospective Exhibition, Museum of National History, Taipei Lung Men Art Gallery, Taipei King Ling Art Center, Kaohsiung, Taiwan Galerie Triform, Taipei 1988 Galerie Luxembourg, Luxembourg Galerie Septentrion, Marcq-en Baroeul, France

Galerie Régis Dorval, Le Touquet Musée d’Art Moderne, Liège Musée des Arts, Taichung, Taiwan 1989 Galerie Arlette Gimaray, Paris Galerie Artlo, Toulouse Galerie Gabrielle, Strasbourg Galerie Sylvie Lanel, Honfleur 1990 Galerie Hélène Trintignant, Montpellier Pyramide Pernod, Créteil, France Galerie Régis Dorval, Le Touquet Galerie Bellecour, Lyon 1991 Galerie Luxembourg, Luxembourg Musée d’Art Contemporain, Dunkirk Galerie Patrice Trigano, Paris 1992 Primal Signs, Palais Montcalm, Quebec Work from the 60’s, Galerie Arlette Gimaray, Paris Art Bartschi, Compagnie, Galerie du Château, Geneva Galerie Pierre, Taichung, Taipei 1993 Galerie Régis Dorval, Le Touquet

Galerie Protée, Toulouse Dimensions Art Gallery, Taichung, Taiwan Dimensions Art Gallery, Kaohsiung, Taiwan 1994 Galerie Municipale, Vitry sur Seine Musée Amérindien de Point Blanc, Quebec; travelled to the Musée d’Art de Juliette, Juliette, Quebe; Maison de la Culture Mercier, Montreal Galerie Patrice Trigano, Paris Trésor Singapore 1994, Soobin Art Gallery, Singapore Dimensions Art Gallery, Taipei Dimensions Art Gallery, Taichung, Taiwan Dimensions Art Gallery, Kaohsiung, Taiwan Treffpunkt Kunst, Musée Ludwig, Sarrelouis, Germany 1995 Primal Signs, Stratford Gallery, Stratford, Canada Glenbow Museum, Calgary, Canada Galerie Régis Dorval, Le Touquet 1996 Galerie Moly, Kaohsiung, Taiwan 1997 First traveling exhibition in the Far East, the French Association for Artistic Action (AFAA), Arts Palace, Beijing; travelled to the Museum of Art, Hong Kong; Museum of Fine Arts, Kaohsiung, Taiwan Museum of Fine Arts, Taipei

Galerie Alisan Fine Arts, Hong Kong Bouquinerie de L’Institut, Paris 1998 Galerie Enrico Navarra, Paris Galerie Patrice Trigano, Paris Ecstatic Depths: Recent Paintings 1986-1996, Museum of Fine Arts, Taipei Héritages Art International Ltd., Taipei Domaine Haut-Gleon, Corbières, France Important Works of Chu Teh-Chun: The 50’s in Taichung, New Vision Art Gallery, Taiwan Salons du Palais des Consuls, Rouen Galerie Espace 061, Art Contemporain, Paris 1999 Chu Teh-Chun: Poetry and Music, Alisan Fine Arts Ltd., Hong Kong Villa Tamaris, La Seyne-sur-Mer, France Chu Teh-Chun: Recent Works, Galerie Milstain, Brussels 2000 Chu Teh-Chun. Peintures, Hôtel de Ville, Sochaux, France Chu Teh-Chun: Paintings, Shanghai Museum, Shanghai 2001 Museum of Art, Guang Dong, China Second travelling exhibition in the Far East, the French Association for Artistic Action (AFAA), Pusan Metropolitan Museum, Pusan, South Korea; travelled to Galerie Enrico Navarra, Paris;

Galerie municipale d’Arcueil, Paris 2002 Galerie Darga, Bali Exhibition of Lithographs, Angel Art Museum, Taipei 2003 Exposition de peintures sur céramique, Galerie de la Bouquinerie de l’Institut, Paris Première présentation publique de Symphonie Festive au Palais Garnier, Paris Exposition à Châtillon-en-Diois, Drôme, France Inauguration and Symphony Festival at the Shanghai Opera, Shanghai Listen to the Universe, Jung Yi University, Taichung, Taiwan 2005 Impression Art Gallery, Taipei La Nature Transfigurée, Museum of Guéthary, France La Légèreté de l’Espace, J. Bastien Art, Brussels L’Image Intérieure Atteint sa Plénitude dans l’Abstraction, The Museum of Fine Arts, Shanghai Arsenal, Metz, France 2006 Chu Teh-Chun: Paintings, Marlborough Gallery, New York Frank Pages Art Galerie, Baden-Baden Galerie Patrice Trigano, Paris J. Bastien Art, Brussels

2007 Royal Ueno Museum, Tokyo Chu Teh-Chun: Pintura reciente, Galería Marlborough, Madrid 2008 Chu Teh-Chun, Works on Paper, Marlborough Gallery, New York Chu Teh-Chun Retrospective, National Museum of History, Taipei 2009  The Sound of the Universe, Suzhou Museum of Art, Suzhou, China. Chu Teh-Chun, Marlborough Fine Art, London, England.   Chu Teh-Chun and the Manufacture de Sevres, Musée Guimet, Paris, France. 2010 Da Neve, do Ouro e do Céu Azul, Macau Art Museum. Chu Teh-Chun – of Snow, Gold and Sky Blue, part of the Program of French May Program, organized by French Consulate in Hong Kong and the University Museum and Art Gallery. Chu Teh-Chun, Retrospective, The National Art Museum of China, Beijing, China. 2011  Chu Teh-Chun: Process and Transformation, FEAST Projects, Hong Kong. 2012 Infinite Transformation Eminent Skills, dedicated for Zao Wou-Ki and Chu Teh-Chun, Goethe Art Center, Taipei. Chu Teh-Chun, Nature in abstraction, de Sarthe Gallery, Hong Kong

Group Exhibitons 1956 Salon Comparaison, Paris Painters of Today, garden at the Palais Royal, Paris 1960 Ecole de Paris 1960, Galerie Charpentier, Paris 1961 Salon de Mai, Paris 1963 Galerie Legendre, Paris Galleria San Fedele, Milan 1964 Carnegie Art Museum, Pittsburg Bineth Gallery, Jerusalem Merlin Gallery, Athens Maison Internationale de la CitĂŠ Universitaire, Paris 1972 Die Dritte Welt Gallery, Munich 1998 Usporednosti - 12 Francuskih Umjetnika, Museum of Modern Art Dubrovnik, Dubrovnik

2006 CIGE Art Fair, Beijing Chu Teh-Chun & Antoine Poncet, Frank Pages Art Galerie, Baden-Baden 2007 Shanghai Contemporary Art Fair, Shanghai CIGE Art Fair, Beijing Exploration - New Ink Art Shanghai 2007, Alisan Fine Arts, Hong Kong; travelled to Shanghai Duolun Museum of Modern Art, Shanghai 2008 Shanghai Art Fair 2008, Shanghai (with Marlborough Gallery) Group Show, Marlborough Monaco, Monte Carlo Premier EtĂŠ contemporain, MusĂŠe Marmottan - Claude Monet, Paris 2011 Summer Group Exhibition, Marlborough Gallery, New York, New York, United States. Art Taipei, de Sarthe Gallery 2012 Voyage of Discovery, Chinese Culture Center, Paris, France. ArtHK, Hong Kong, de Sarthe Gallery

Public Collections Bibliothéque Nationale, Paris Direction du Centre hospitalier de Bunet, Toulon Fonds départmental d’art contemporain du Val-de-Marne, France Fonds du Musée d’Art Contemporain de Bourg-en-Bresse, France Fondation Septentrion, Marcq-en-Barceul, France Fonds National d’Art Contemporain, Paris Guangdong Museum of Art, Canton, China Mairie de la Ville Vitry-sur-Seine Mairie de Sochaux: M.A.I.S., France Maison de la Culture de la Société des Eaux, Marseille Musée Bertrand, Châteauroux, France Musée Cernuschi, Paris Musée d’art contemporain, Dunkirk Musée d’art contemporain de la Ville de Liége, France Musée d’art moderne de la Ville de Paris Musée de Pierrefeu, Nice Musée des beaux-arts André Malraux, Le Havre Musée Hyacinthe Rigaud, Perpignan National Library, Bogotá National Museum, Dacca Présidence de la CFDT, Paris Présidence de la Société des Eaux, Marseille Shanghai Museum of Art, Shanghai Shanghai Opera House, Shanghai Société Corima, Paris

Monographs X BIENAL DE SÃO PAULO, Setembro - Dezembro 1969. São Paulo Biennial, Brazil. Catalogue of the 10th São Paulo Biennial, Brazil. Text on CHU TEH-CHUN by Hubert Juin, page 54-55. 1969 Juin, Hubert. CHU TEH-CHUN. Published by the Musée de Poche (Pocket Museum). 1979 Gérard Xuriguera, Raoul-Jean Moulin and Michel Chapus. CHU TEH-CHUN, Peintures - Dessins - 1955-1982. Organized by Musée des Beaux-arts André Malraux. 1982 Lam Nin Tung, Wu Guanzhong and T’ien Dan (text in Traditional Chinese and English). CHU TEH-CHUN, Works On Paper. Presented by The Hong Kong Institute for Promotion of Chinese Culture. 1986 Chen Kwei-miao, Li Lin-Tsan, Michael Sullivan and Jean-Clarence Lambert (text in Chinese, French and English). CHU TEH-CHUN. National Museum of History, Taiwan. A publication of National Museum of History, Taiwan. 1987 Li Lin-tsan, Chu Ko, Sung Lung-fei, Michael Sullivan and Jean-Clarence Lambert (text in Chinese and English). CHU TEH-CHUN. Exhibition Tour 1988-89, R.O.C., A publication of King Ling Art Center. 1989 Cabanne, Pierre. CHU TEH-CHUN. Cercle d’Art Publications: Paris, 1993 Wu Guanzhong and Pierre Cabanne (text in Traditional Chinese and French). CHU TEH-CHUN. Dimensions Art Centre, Taiwan. A publication of Dimensions Art Centre, Taiwan. 1993

CHU TEH-CHUN and Shui Tianzhong (text in English, Chinese and Indonesian). CHU TEH-CHUN, Tresors Singapore and SoobinArt Gallery Pte Ltd., Published by l’Atelier Production Pte Ltd., October 1994 Pierre Morel, Gilbert Erouart, Geoffrey T.H. Huang and Wu Guanzhong (text in Chinese and French.) CHU TEH-CHUN, Un trait d’union entre la France et la Chine. Organized by National Art Museum of China, Beijing. 1997 Ronald Leung Ding-bong, Thierry Dana, Gerald C C Tsang, Gilbert Erouart, Geoffrey T.H. Huang and Wu Guangzhong (text in Chinese and English). PROFOUND IMAGE, A Retrospective of CHU TEH-CHUN (1985-1996). Catalogue of exhibition Profound Image, A Retrospective of CHU TEH-CHUN (1985-1996), presented by the Provisional Urban Council, Hong Kong, jointly organized by the Hong Kong Museum of Art and the Association Française d’Action Artistique, Ministry of Foreign Affairs, France. Supported by the Consulate General of France, Hong Kong. A publication of the Provisional Urban Council of Hong Kong. 1997 Persin, Patrick-Gilles (text in French) CHU TEH-CHUN, Peintures Récentes. Catalogue of exhibition CHU TEH-CHUN, Penitures Récentres, organized by Galerie Patrice Trigano. 1998 Liao Chiung Fang. OVERSEAS CHINESE FINE ART SERIES II: CHU TEH-CHUN. Published by Artist Publishing Company. 1999 Cabanne, Pierre. CHU TEH-CHUN. Flammarion: Paris, 2000 Restany, Pierre. CHU TEH-CHUN. Galerie Enrico Navarra: Paris, 2000

Zu Wei. BIOGRAPHY OF CHU TEH-CHUN. 2003 CHU TEH-CHUN – CÉRAMIQUES. Galerie de la bouquinerie de l’institut. 2003 Ung Vai Meng, Shih Li-Jen (text in Chinese, Portuguese and English) GESTOS LARGOS. Pintura de CHU TEH-CHUN. A Publication of Instituto para os Assuntos Cívicos e Municipais and The Macao Museum of Art. 2004 Fan Dian (text in Chinese). 朱德群CHU TEH-CHUN.中国油画十家. 2004 Chu Teh-Chun: Editions des Œurves des l’Académie des Beaux-Arts de l’Institut de France. Editions de l’Education du Hebei: Paris, 2005, catalogue with essay by Lydia Harambourg Li Lei, ed. Chu Teh-Chun: Exposition of Recent Paintings by Chu Teh-Chun. Shanghai Art Museum, Shanghai Bookstore Publishing House: Shanghai, 2005 Rémy, Pierre-Jean. Chu Teh-Chun. Editions de la Différence: Paris, 2006 CHU TEH-CHUN. Marlborough Gallery, New York. Catalogue of Chu Teh-Chun exhibition by Marlborough Gallery. 2006 CHU TEH-CHUN, ORIGINAL PRINTS. J.Bastien Art Galerie, Brussels. Catalogue of Chu Teh-Chun exhibition. 2006 CHU TEH-CHUN, The Ueno Royal Museum, Tokyo, Thin Chang Corporation: Tokyo, 2007 Eric Martin and Patrick-Gilles Persin (in French). CHU TEH-CHUN. Peintures et encres de Chine.

Catalogue of exhibition, Chu Teh-Chun, Peintures et encres de Chine, organized by BNP Paribas Luxembourg. 2007 Desroches, Jean-Paul. CHU TEH-CHUN. Catalogue of exhibition, Chu Teh-Chun, Lavis, organized by Galerie Patrice Trigano. Lavis. 2008 CHU TEH-CHUN 88TH ANNIVERSARY RETROSPECTIVE. National Museum of History of Taipei, Taiwan. Catalogue of the exhibition Chu Teh-Chun 88 Retrospective. 2008 Huang Yung-Chuan, Teng Chual-Hsin, Patrick Bonneville, Masakazu Mizno, Kwok Kian-Chow, Wang Huang-Sheng, Gou Yih-Shun, Lee Lung-Sheng, Fna Di’an, Li Lei, Wang Che-Hsiung, Katsumyz Miyasaki and Jean-Paul Desroches (text in Chinese). CHU TEH-CHUN. 88 Retrospective. Catalogue of exhibition Chu Teh-Chun 88 Retrospective, presented by National Museum of History, Taiwan and Thin Chang Corporation. 2008 Chu Ko. CHU TEH-CHUN. The Graphic Work 2000-2008. A publication of Hoke Art. September 2008 OF SNOW, GOLD AND SKY BLUE. CERAMIC WORKS BY CHU TEH-CHUN. De Neige d’Or et d’Azur. Catalogue raisonné of the original ceramics produced by Chu Teh-Chun at The Manufacture Nationale de Sèvres. 2009 Zhang Xin and Yvon Chu. The Sound of the Universe. The exhibition of Chu Teh-Chun in Suzhou. A publication of Suzhou Musuem. November 2009 CHU TEH-CHUN, RETROSPECTIVE. Catalogue of the first comprehensive retrospective of the work of Chu Teh-Chun. NAMOC, Beijing 2010 OF SNOW, GOLD, AND SKY BLUE. HAND-PAINTED CERAMICS AND CALLIGRAPHY BY

CHU TEH-CHUN. Catalogue of the exhibition Da Neve, do Ouro do Céu Azul, organised by Macau Art Museum (MAM), presenting the series of Ceramics of Sévres along with a number of calligraphies. 2010 CHU TEH-CHUN, Process & Transformation. Calligraphies & Paintings. October 2011

Published on the occasion of: Chu Teh-Chun: Nature in Abstraction Oct 5 – Nov 3, 2012

香港中環雪廠街16號西洋會所大廈8樓 8/F Club Lusitano 16 Ice House Street Central Hong Kong T: +852 2167 8896 F: +852 2167 8893 E: hongkong@desarthe.com www.desarthe.com ©Atelier Chu Teh-Chun Catalog: ©2012 de Sarthe Gallery Design: Salotte Lau, de Sarthe Gallery Coordination: Esther Chiu, Jennifer Warner

Printing: Print Shop, Hong Kong Published in 2012