T’ang Haywen

"My painting is neither figurative nor abstract and does not belong to the neo-figurative school. Such definitions seem to me to be too limiting. I am looking for an art without constraint in which I evolve freely."

T’ANG HAYWEN was born in 1927 on Xiamen island, China, from an educated family. His early intellectual development and, later, his work, would definitely be shaped by his family background.

From frequent journeys to Taiwan with his dad he grew a passion for traveling and his grandfather’s teaching of calligraphy and Tao philosophy would very much influence his future life and career.

At the age of 21 he left for Paris to study medicine and fulfil his father’s wishes. But T ’ang followed another dream: to become a painter. He then spent much of his time in museums, observing and learning from Western masters.

In the sixties, without real formal training he developed his own style, neither figurative nor abstract. He wanted to feel free from any artistic or materialistic constrains. He painted from nature, trying to render the beauty and energy that springs out of the surrounding world. Inspired by his Taoist spiritual legacy and Chinese traditions he came back to ink painting.

In the seventies and eighties T ‘ang travelled worldwide, invited in many exhibitions, meeting famous artists and personalities, feeling at ease in all the places he visited. But T ‘ang didn’t seek fame. For him painting and traveling were a way of life, meeting new people an endless source of joy.

Always in search of new experiences and more spirituality he joined the Catholic church and in 1988 offered me to organize an exhibition at our Foyer Jean Paul II. There, we got the visit of many of his friends like Dina Verny, Gilles Chazal, the curator of Petit Palais and Dominique Ponnau, the Director of l’Ecole du Louvre.

That same year I introduced him to a famous XIXth century Polish poet: Cyprian Norwid.

Norwid had been admired by Henry Bergson, André Gide, Joseph Brodzki and Jean Paul II. He deeply influenced the development of Polish culture. Norwid’s thought was also rooted in Western and Eastern spirituality. For him, harmony could spring out from contraries and his work was seen as a bridge between the two cultures.

Sharing these views T ‘Ang felt attracted to Poland where we finally travelled in August 1990.There, I introduced him to Polish artists, like Zofia and Henryk Szulc, art historians and Tadeusz Chrzanowski, a famous art history professor at Lublin Catholic University.

In Lublin, T ‘Ang was invited to stay at Rena Targonska’s, a well-known scenographer.

He settled in a room with a balcony from which, early in the morning, he would observe life and start painting. For a European observer like me getting the opportunity to follow T ‘Ang in his creative process was a fascinating experience. In impulsive strokes he seemed to catch, on the white surface of paper, elusive feelings, thoughts or questions. The way his hand moved over the white paper was an echo of the way he had lived, following “The way of Tao”, never imposing himself on events, remaining spontaneous and thus achieving universal harmony.

Poland was T ’ang’s final journey. He died one year later in Paris.

The paintings he realized there were the last traces he left behind him. They are now part of Leszek Kanczugowski’s collection.

Encore sur papier
Composition / Ink on paper / 40x20cm © Leszek Kanczugowski

Art’s experts reviews on T’ang Haywen

Exhibitions

Tours

Essen

Taipei

Cologne

Skorby

Chicago

Rouen

Chambéry

Roma

Campione

Quimper

Brussels

Paris

Brive

Oxford

Bologne

Norfolk

Bedar

Washington

Nice

Basel

Beijng

Monaco

Ausburg

Zurich

London

Aarhus

Singapore

Houston

Vitré

Hong Kong

Venice

Geneva

Vannes

Genoa

Publications

T’ang, Éditions de Beaune, Paris 1968, catalogue.

T’ang, Galleria San Luca, Bologne 1972, catalogue.

T’ang, monographie par Eros Bellinelli, Edizioni Pantarei, Lugano 1974.

Galerie Nane Stern, Paris 1975, 1978, 1982, 1986, catalogues.

Musée Savoisien, Chambéry 1979, catalogue.

L’autre Geste, Yves Bichet, Éditions des Prouvaires, 1983, encres de T’ang.

Chinese Artists in Paris, 1983, catalogue.

Musée du Château de Vitré, Vitré 1984, catalogue.

Paletten, Art Magazine 1984, H. Johansson, couverture illustration et article.

China-Paris, Taïpei Fine Art Museum, Taïpei, 1988, inclus au catalogue.

Patmo, Lorand Gaspar, Éditions PAP, Lausanne, 1989, illustrations par T’ang.

A chinese Potrait, Yonfan Manshih, Hong Kong 11 /1991. Portrait de T’ang.

Maison Près de la Mer, Hommage à T’ang par Lorand Gaspar, Éditions PAP, Lausanne 1992, illustrations de T’ang.

Empire of the Dragons, Aarhus Kunstmuseum, Danemark 09/1995, au catalogue.

Tradition and Innovation, Hong Kong Museum of Art, 11/1995, Tour exhibition, au catalogue.

Singapore Museum of Art, 07/05-30/06/1996, catalogue.

British Museum, Angleterre 26/07-29/06/1996, catalogue.

Museum fur Ostasiatische Kunst, Cologne 18/10/1996-16/01/1997,

Allemagne, catalogue. T’ang Haywen, Musée Océanographique de Monaco, catalogue, 10/1996-02/1997.

Le Tao de la Peinture, rétrospective au Musée des Beaux-Arts de Taïpei 08/1997, catalogue.

Maîtres de l’Encre, Musée de Pontoise 1999, catalogue.

T’ang Haywen, les chemins de l’encre -Paths of ink, Éditions de la Pointe, Musée National des Arts Asiatiques-Guimet. 2002.

The power of lnk, rang Haywen (1927-1991), catalogue publié dans le cadre de l’exposition Encre/Chine, lnk paintings by Jean Degottex, Gao Xingjian and rang Haywen, 2005, catalogue.

Le dernier voyage, Galleria Sala 1, Rome, 2006, Gangemi Editore, Rome, catalogue.

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