Landscape in the Style of Wen Jia
Mount: 82 5/8 × 18 5/8 inches (209.88 × 47.32 cm)
- 202
Chinesische Malerei, Museum fur Kunst und Gewerbe, Hamburg, 1949-50, no. 128.
Austellung Chinesische Malerei, Kunstsammlungen der Stadt Düsseldorf 1950, no. 125.
Eight Dynasties of Chinese Painting, Nelson-Gallery-Atkins Museum, Kansas City, November 7, 1980 – January 4, 1981; The Cleveland Museum of Art, February 11 – March 29, 1982, no. 278.
Flowers to Frost: Four Seasons in East Asian Art, The Nelson-Atkins Museum of Art, January, 5 – July 17, 2016.
“On a rainy spring day, cut a piece of Wu [Suzhou] silk;
And wash it all with the color of mists.
Just a touch of the brush, and a thousand peaks emerge;
But none of this is due to nature’s creative forces.”
—Pan Gongshou
As read in the poem translated above, Pan Gongshou muses on the work of an earlier painter, Wen Jia (1501–1583), in the painting’s inscription. Pan admires how Wen captures the atmosphere of a scene with “just the touch of a brush.” Pan’s landscape follows this tradition by reinterpreting the work of Wen Jia instead of drawing directly from “nature’s creative forces.”
Victoria Contag van Winterfeldt, Germany.
Inherited by her Daughter, Beatrix Freifrau Riedesel Zu Eisenbach;
Purchased from Beatrix Freifrau Riedesel Zu Eisenbach by The Nelson-Atkins Museum of Art, Kansas City, MO, 1975.
Victoria Contag, Chinesische Malerei, Museum fur Kunst und Gewerbe (Hamburg: 1949-50), 53, no. 128.
Werner Speiser and Victoria Contag, Austellung Chinesische Malerei, Kunstsammlungen der Stadt Düsseldorf (1950), p. 32, no. 125.
Wai-Kam Ho, et al., Eight Dynasties of Chinese Painting: The Collections of the Nelson Gallery-Atkins Museum, Kansas City, and The Cleveland Museum of Art. (The Cleveland Museum of Art in cooperation with Indiana University Press, c1980), 379, no. 278.
