Friday, March 24, 2017

Yun Gee in 20th Century Chinese Art, 1999

Christie’s, Taiwan
April 18, 1999

Yun Gee on pages 38 to 41

The Knights (1939; aka Knight’s Combat)
Brief essay illustrated with preliminary sketch, Nudes on Horseback (1939), for The Knights, Edvard Munch’s Scream, Paul Cezanne’s Love’s Battlefield, and Pablo Picasso’s Invoke.

(Next post on Friday: Helen’s World of Yun Gee)

Friday, March 17, 2017

Yun Gee at Lin & Keng Gallery, 1998

Lin & Keng Gallery
Taipei, Taiwan
November 14 – December 1, 1998

Yun Gee and China
essay by Chia Chi Jason Wang

Steps (1926)
Portrait of a Woman (no date)
Seated Man Wearing Hat (1926)
Portrait of Otis Oldfield (1927; aka Man with Pipe)
House Near Paris (circa 1928)
Life and Death (1928)
Place Maubert (1929)
Andre Salmon (1939)
Self-Portrait (circa 1930)
Portrait of a Man (1940)
Fountain in Park (before 1937)
Fountain in Park, Winter (no date)
Girl by the Lake (late 1930s or early 1940s)
Sorbonne Square (1936–1937)
Bridge in Summer (1940)
Central Park Lake (1940; different painting with same title in Life magazine)
Central Park (no date)
Swan Lake, Central Park (no date)
[pages 43–44 missing]
Park in Spring (no date)
Central Park (1952; aka West Tower from Central Park in Winter)
Horse (no date)
Animal Family (no date)
Horses at Sunset (no date)
Harlequin Holding Figure (no date)
Radio Street, Pelham Bay (no date)
Horse with Rider (1940)
[pages 55–56 missing]
Seated Nude (circa 1940)
Nude on Red Armchair (1930s)
Dancing Nudes (1939)
Four Nudes (1939; aka Nudes on Horseback; aka Knights Combat)
Two Women (no date)
Seated Nude (1942)
Portrait of Woman in Chair (1940)
Searchlight (1943; aka Army Searchlight)
Nude (no date)
Nude (1942)
Linda Darnell (1951; catalog cover art)
Room with a View (1951; aka Hospital Court; reclining woman resembles Gee’s wife Helen Wimmer)
The Resurrection (1929)

Confucius (1930; bronze, edition of 8)

Resting Female Nude (1931)
Kneeling Female Nude (1931)
Abstract Figue (1932)
Le Maitre etude sa moral a l’aide de ses deux soleils (1929)
Chinese Woman in Pink Dress (1930)
Two Chinese Women (1930)
Portrait of a Man (1926)
Geometric Landscape (1927)
Female Nude Carrying Ball (1952)
Figure (1932)
Abstract Nude (1932)

Dance of Li Po (1935, New York)
Yun Gee with Confucius sculpture and Wheels: Industrial New York (1932 or later)
Yun Gee in Chinese Costume (no date)
Yun Gee Dance (no date)

(Next post on Friday: Yun Gee in 20th Century Chinese Art, 1999)

Friday, March 10, 2017

Yun Gee at the Museum of the City of New York

Profiles in Freedom
Dr. Martin Luther King Jr, Dr. Aubre Maynard, and Yun Gee

Dr. Maynard portrait by Yun Gee, 1942

An excerpt from the museum blog:

Upon donating the portrait to the Museum of the City of New York in 2000, Helen [Gee] reported that she had “met Dr. Maynard when I was fifteen years old and he’d shown me great kindness. Treating me when I was ill and unable to pay for medical care. We remained lifelong friends, and a year before he died he gave me the portrait. I appreciated the gift but told him at the time that I felt it belonged in an institution rather than with me, and when I mentioned that I planned to offer it to the Museum of the City of New York, he was pleased.”

(Next post on Friday: Yun Gee at Lin & Keng Gallery, 1998)

Friday, March 3, 2017

Yun Gee on eBay

Tri-King 4D chess and checkers board made of wood.

All artworks were sold. If you are looking for Yun Gee items, search his name with open and closed quotes, “Yun Gee”. The list will be of items with his name in the subject line. Under the “Search” button, click the box next to “Include description” then click “Search” button again. Additional items may be added. Follow the same steps using his Mandarin name “Zhu Yuanzhi”.

(Next post on Friday: Yun Gee at the Museum of the City of New York)

Friday, February 24, 2017

The Paintings of Yun Gee

Introduction and Catalogue by Joyce Brodsky
Edited by Hildegard Cummings and Stephanie Terenzio
A Reminiscence by Helen Gee
The William Benton Museum of Art
The University of Connecticut, Storrs
October 13 – November 18, 1979

Front Cover

Back Cover

The Flute Player (1928)
Portrait of Gottardo Piazzoni (1927)
Wheels: Industrial of New York City (1932)
Landscape with Two Tree Trunks (1926)
Head of Woman with Necklace (circa 1926)
Girl on Bridge (1926)
Houses on a Hill (1926)
My Conception of Christ (1926)
San Francisco Street Scene with Construction Workers (1926)
Skull (1926)
Chinese Musicians (circa 1927)
Street Scene (1926)
Head of Man in Cap (1927)
Man with Pipe (1926)
Park Bench II (1927)
A Woman Reading (1926)
Man Holding Baby (1926)
Pantheon and Workmen (1927)
Head of Woman Wearing Hat (circa 1927)
Where Is My Mother (1926–1927)
Chinese Man in Hat (1928)
Caretaker’s Cottage (circa 1927)
Houses Near Paris (1928)
Cat and the Rain (1929)
How I Saw Myself in a Dream (circa 1929)
Confucius (1929)

Head of Man with Pipe (1927)
Pencil portrait of Gee by Paule de Reuss (1930)

Gee, in dance costume, playing the flute (1933)
Gee with The Last Supper mural for St. Peter’s in the Bronx (1933)
Gee at His Easel (1927)
Otis Oldfield in San Francisco (no date)
Gee in San Francisco (no date)
Gee and his Chinese Revolutionary Artists’ Club in San Francisco
Gee in Paris (1929)
Gee in New York (no date)
Gee with skylark, New York (no date)

(Next post on Friday: Yun Gee on eBay)

Friday, February 3, 2017

Paul Fung in The American Boy

December 1917
(click images to enlarge)

Chinese Boy Makes ’Em Laugh

I suppose that most boys and many grown-up folks think of a Chinaman as the almond-eyed fellow with a pigtail who makes his living doing “washee.” While to may be true that most of the people from that far-off country who come to America work all day long washing shirts and socks, there are many who are highly educated and esteemed by Americans. Of these there is none more interesting than clever little Paul Fung, who is being talked about from one end of the country to the other and referred to as “the only Chinese cartoonist in the United States.”

Now, if Paul Fung were a grown-up man, I wouldn’t be writing this story; but as he is only about eighteen years old, I am sure that every reader of The American Boy will become as greatly interested in him as I am.

I know Paul very well indeed and I am certain that you would like him too. He is really a wonderful little fellow, speaks perfect English, dresses well and is thoroughly American. In fact, I’ve just heard that he wants to go and fight for Uncle Sam, which shows that his hearts is in the right place.

Paul’s father, the Rev. Fung Chak, was a graduate of one of the great California universities, Leland Stanford, Jr., and for some years pastor of the Chinese Baptist missions in Seattle, Portland and San Francisco. Paul was born in Seattle and has lived in American all but six years of his young life. When five years old, he went back to China with his father and attended school there. Later, after returning to this country, he finished an American grammar grade education and then entered high school.

When Paul was attending school in China, his married sister in America sent him the colored supplements of the Sunday papers, showing the Katzenjammer Kids and other funny drawings that delight young and old.  He took a particular interest in the doings of these “Kids” and copied the drawings in such a way that his parents quickly saw where his talent lay. So in addition to his regular work, Paul studied Chinese art under the direction of a teacher who taught him to copy flowers, birds and leaves on fans, working with a camel’s hair brush on a pad of soft paper with Chinese ink. He did so much better work than the other children that his drawings were put in a place where everybody could see them.

But cartooning was the particular branch of art that had taken Paul’s eye, so when he came back to America, he began making original drawings which quickly attracted the attention of editors. His drawings were so clever that it wasn’t long before one of the largest newspapers in the West gave him a position in their art department, and then he left high school and is now spending all his time working with his pen, brush and pencil, making people laugh and think.

To-day, Paul’s work is considered so good that it can be found in some of the very best magazines in America, and it won’t be very long before this little Chinaman is looked upon as one of the leading cartoonists in the whole country.

The Sunday Star
(Washington, D.C.)
December 9, 1917
advertisement for Christmas issue of The American Boy;
see box in lower left-hand corner for contents

(Next post on Friday: Yun Gee in Fine Modern Chinese Oil Paintings, Drawings, Watercolors and Sculpture, 1994)