Soulages, Michaux, Malraux y Vieira da Silva, amigos e inspiradores de Zao Wou-Ki

• Published in: Imafronte
• Main Author: Yamada, Satoru
• Format: Article in Journal/Newspaper
• Language: Spanish
• Published: Ediciones de la Universidad de Murcia (Editum) 2022
• Subjects: Zao Wou-Ki; Henri Michaux; Soulages; Vieira da Silva; París; The Pointers
• Online Access: https://revistas.um.es/imafronte/article/view/480261; https://doi.org/10.6018/imafronte.480261

Zao Wou-Ki (1921-2013) is a Chinese painter with a universal reputation. Because of the conventionalism of art in China, he decided to settle in Paris. It is known that there he started thanks to the art of Cézanne and Klee, Zao begins to sublimate the Chinese tradition: the sign and the qui, as his style in his work, but I guess there is something more. When he arrived in Paris, Zao gets to meet many emerging artists who leave their mark on the History of Art. They must be the pointers of the artistic path. They also contributed to him to recover his root in his art through collaboration, but there is not much research, for the reason I address it. The fact that Zao worked to dedicate the works to numerous poets after the collaboration with Henri Michaux reminds me of the Chinese aesthetic "coincidence between poem and painting". I analyze his collaborations with poets to investigate such a concept in his art. Another part to develop the qui, the Chinese pictorial space, I consider that Zao took the spark from Pierre Solaces. Soulages shared the idea of space and light with Zao, so I analyze his dialogues. Zao Wou-Ki (1921-2013) es un pintor chino reconocido internacionalmente. Intentando alejarse del convencionalismo del arte en China, decidió instalarse en París. Pero allí, después de conocer la obra de Paul Cézanne y Paul Klee, Zao empieza a reconciliarse la tradición china: el signo y el qui, como estilo de su obra, pero hay algo más. Cuando llegó a París, Zao consiguió conocer a muchos artistas emergentes que dejarían huella en la Historia de Arte que van a ser los precursores de su camino artístico. Ellos contribuyeron en la recuperación de sus raíces. Sobre ello, no hay una investigación profunda, y es por lo que la abordo. El hecho de que Zao trabajara con numerosos poetas tras la colaboración con Henri Michaux me recuerda la estética china “coincidencia entre el poema y la pintura”. Me voy a centrar en su colaboración con los poetas para investigar su arte por esta circunstancia. De otra parte, estudiaré el qui, espacio pictórico chino, porque considero que Zao cogió la chispa de Pierre Soulages. Soulages compartía la idea del espacio y la luz con Zao, por eso analizaré los diálogos del pintor francés.