Landscape Sketch (158)-SB22 (36.11-12)
紙本鉛筆Pencil on paper
Two landscape sketches are juxtaposed on a sketchbook page. The left sketch is similar to Tamsui (1) in the viewpoint, while the right sketch is similar to Sunset at Tamsui in the composition. Both oil paintings are renowned in the fine arts society as “The Left and Right Landscapes of Tamsui” because they represent the landscapes on either end of the small town, respectively from the opposite direction. The piece displayed before our eyes probably reflects how Chen Cheng-po constructed two different perspectives of Tamsui in his mind.
Hardly any researcher has paid attention to the connection of this pencil draft with “The Left and Right Landscapes of Tamsui”. At first glance, both sketches with simple lines seem to be the exact drafts of the corresponding oil paintings. However, referred to other works arranged in chronological order in the same sketchbook, this pencil sketch was presumably finished in late 1936, much later than “The Left and Right Landscapes of Tamsui” of 1935.
In fact, in the sketchbook, after this pencil draft is Landscape Sketch (159), which also presents two landscape sketches side by side, with the same confusing strokes and few details. Both sketches are probably scribbles for Chen Cheng-po to study and compare the compositions in his drawing.
In his landscape paintings, Chen Cheng-po adopted many innovative techniques in the perspective to create an extraordinary style successfully. Observing the several dozens of sketchbooks that he handed down, we realize that the painter had actively experimented with all sorts of spatial representations in his landscape sketches. This pencil draft may have recorded his ideas for the composition in his painting.
Gazing at the two directions of Tamsui, what was Chen Cheng-po thinking about? What do you perceive in these two sketches?