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Lot Essay
Chu firmly believed that the beauty of nature, like music, was not best communicated in words — hence the beautiful, flowing colours of his paintings, their rich and varied layering, and the strong, balanced rhythms of his brushwork. All the scattered, disparate elements in a Chu Teh-Chun painting connect and join together in a grand harmony.
In Untitled, one can find a distant echo of Beethoven's Piano Sonata No.14. Music critic Ludwig Rellstab later exclaimed that it sounded 'like moonlight shining upon Lake Lucerne,' the sonata soon became generally known as 'the Moonlight Sonata.' The single notes of the right-hand theme, clear and steady, fall above the mellow, leisurely chords of the left hand. In parallel with this manner, Chu's largescale brushstrokes, vividly marked out near the center of the painting, instantly conjure up the outlines of a dark night. The misty, flowing movement of Chu's brushstrokes at the bottom of the work softens the severe darkness. In the deep, dark night, short segments of yellow rose and crescent-moon white move and rebound, highlighting other hues half-hidden within them. The musical notes of the composition, connecting so closely to the lines and colours of the painting, show how Chu Teh-Chun injects into this work a sense of rhythm and harmonious movement. It becomes a charming fantasia, evoking the feel of moonlight assailing our senses in some remote and secret place.
In Untitled, one can find a distant echo of Beethoven's Piano Sonata No.14. Music critic Ludwig Rellstab later exclaimed that it sounded 'like moonlight shining upon Lake Lucerne,' the sonata soon became generally known as 'the Moonlight Sonata.' The single notes of the right-hand theme, clear and steady, fall above the mellow, leisurely chords of the left hand. In parallel with this manner, Chu's largescale brushstrokes, vividly marked out near the center of the painting, instantly conjure up the outlines of a dark night. The misty, flowing movement of Chu's brushstrokes at the bottom of the work softens the severe darkness. In the deep, dark night, short segments of yellow rose and crescent-moon white move and rebound, highlighting other hues half-hidden within them. The musical notes of the composition, connecting so closely to the lines and colours of the painting, show how Chu Teh-Chun injects into this work a sense of rhythm and harmonious movement. It becomes a charming fantasia, evoking the feel of moonlight assailing our senses in some remote and secret place.