Lee Mei-Shu Memorial Foundation - Playing Cards: Paintings within Paintings Series One

Artistic Critiques Introducing a unique set of playing cards from the Lee Mei-Shu Memorial Foundation. This deck features 42 exquisite artworks, each accompanied by an art appreciation note. More than just a game, these cards offer a delightful way to cultivate aesthetic sensibility and deepen your appreciation for art. Discover special insights into the objects and arrangements within select paintings, shedding light on the artist's thoughtful composition and the deeper meaning behind each creation. Collect 26 vibrant portraits and scenes by the master Lee Mei-Shu, 9 classic still lifes of flowers, and 7 renowned landscape paintings. This is a rare opportunity to own a piece of his legacy. Excerpt / Lee Mei-Shu Memorial Foundation Product Details Size: 8.7x5.8cm Material: Paper Collection: Lee Mei-Shu Memorial Foundation *Life vs. Sanxia Sunrise* A pair of works by Lee Mei-Shu, "Life" and "Sanxia Sunrise," both from 1977. "Sanxia Sunrise" can be considered one of Lee Mei-Shu's representative works. Firstly, it captures a landmark of Sanxia – the Sanxia Arch Bridge, which was completed in 1933 with a length of over 90 meters and designed by the Japanese. Coupled with the earthen dike of the Sanxia River on the left and the sunrise reflection on the river, it is truly a classic among classics. The impression of sunrise depicted in the 1977 "Sanxia Sunrise" can be compared to Monet's "Impression, Sunrise," from the first Impressionist exhibition in 1874. The original painting "Life" was not kept in Taiwan after its creation. When Robert Moore, a foreign acquaintance of the director of the Lee Mei-Shu Memorial Foundation, Li Jing-guang, visited Lee Mei-Shu and wished to donate blood, his offer was politely declined. Instead, he offered US$1,500 as a token of goodwill. After Lee Mei-Shu recovered from his gastric hemorrhage, Director Li Jing-guang informed his father about the US$1,500 from their acquaintance. Lee Mei-Shu insisted, "No, no, we cannot accept money for nothing." He then invited his acquaintance home to present him with a painting. From two options, Mr. Moore chose this particular piece. Later, deeply moved, Mr. and Mrs. Moore named it "Life," a name that Lee Mei-Shu and his family greatly admired. Subsequently, the Robert Moore couple decided to gift the painting back to Taiwan, to be housed at the memorial foundation. Thus, both "Life" and "Sanxia Sunrise" are currently exhibited together at the foundation. Excerpt / Sound Museum of Art *Woman at Rest* This painting depicts Liu Zengmei, his nephew's wife, who was about 25 years old when she posed for Lee Mei-Shu. Lee Mei-Shu often employed two compositional approaches for his figure paintings: one portraying women engaged in labor, and the other depicting them in a posed stance. This artwork utilizes the latter approach, with the subject exuding an elegant posture. The central figure, adorned in stockings and high heels, lightly touches her lips with her index finger, evoking a sense of youthful vitality that is truly captivating. Lee Mei-Shu artfully incorporates elements inspired by Western masters like Renoir and Van Gogh in the foreground, enhancing the sense of depth and spatial dimension. In the background, he employs a painting technique known as "sfumato." This technique, akin to the blurring effect used in the background of Leonardo da Vinci's "Mona Lisa," creates a softer, less defined quality that contributes to a greater sense of depth. The artwork also specifically highlights the "cool drum" placed in the lower right corner of the figure and its relevance to the painting. Excerpt / Sound Museum of Art *Child Teasing a Turkey* "Child Teasing a Turkey" is a whimsical and delightful artwork, a depiction of family life that resonates with childhood memories of rural experiences for those who grew up in the 1960s and 70s. The playful interaction with the turkey, the mother's gentle and affectionate presence, and the sister's relaxed demeanor create a charming contrast with the child's mischievous actions. The mother, holding a basket, appears to be feeding the turkey or attending to her children, adding a lively touch to the scene. The painting style leans towards Post-Impressionism, influenced by artists like Paul Gauguin, emphasizing strong forms and bold color planes. This relates to the phenomenon of "the moon following us" – the moon is distant, yet it seems to follow us wherever we go. In the painting, the mother's right foot points directly towards the viewer, a technique known in art as foreshortening. Foreshortening is used when an object is depicted as it appears directly in front of, or slightly angled towards, the viewer. As you can observe, the mother's right foot (and the child's left hand) are rendered with a compressed visual depth, naturally creating a dynamic sense of movement, transforming a 2D image into a 3D depiction. This is a distinctive compositional element. Excerpt / Sound Museum of Art https://www.youtube.com/watch?v=YeAwRG25m1o *Autumn Garden* The model for this painting was Zhang Hanxiao, a female employee at the farmers' association at the time. The chaise lounge in the scene was purchased during the Japanese occupation era and is still well-preserved today. The floral backdrop is a corner of the artist's backyard at his former residence in Sanxia. The arrangement of the figures involved multiple preliminary sketches and studies, allowing us to appreciate Lee Mei-Shu's deep contemplation and compositional planning before embarking on the final artwork, which resulted in such a rich and engaging scene. Excerpt / Encyclopedia of Education *Magnolia* This painting was part of the dowry of his eldest daughter, Li Xiá. Lee Mei-Shu had a fondness for painting flowers, and this work emphasizes the blooming fullness of the flowers and leaves, creating a sense of abundant blossoms within a limited frame. The colors are rich and saturated, with leaves extending beyond the canvas to create a sense of greater space. The reddish-brown tones of the tablecloth and the background leaves echo each other. The pattern on the vase further enhances the visual appeal, complementing the main floral subject. Unlike his later works featuring roses in vases, this piece showcases a different compositional choice and use of color, offering a distinct experience when viewed alongside his other still lifes. Excerpt / Online Museum of Lee Mei-Shu *Roses* This piece showcases the effect of white light and emphasizes linear depiction. The vase is consistently an antique bronze engraved vase, possessing intricate carved beauty. The color palette relies heavily on white, with a strong luminance contrast. The artwork is elegant and refined, with each rose displaying variations in color. The 19 leaves exhibit rich variations in light and shadow, while the background and tabletop feature a mix of blue and red tones. The rendering of the pointed ceramic vase is particularly successful, exuding a refined texture. Lee Mei-Shu enjoyed painting roses, finding them pleasing and elegant. He would gift rose paintings to his daughters for betrothal or wedding blessings. His appreciation for antique vases and artifacts allowed him to use them for floral arrangements, making it a practical and artistic pursuit. Excerpt / Online Museum of Lee Mei-Shu Artist Introduction Lee Mei-Shu (1902-1983) studied at the Normal Department of the Governor-General's Government English School in his early years, where he was deeply influenced by Western painting, sparking his passion for art. His early works, "Still Life" (1927) and "Sanxia Back Street" (1928), were selected for the first and second Taiwan Exhibitions, respectively. In 1928, he traveled to Tokyo to study painting at the Kawabata, Dōshūsha, and Hongō art institutes. The following year, he passed the entrance examination for the Tokyo School of Fine Arts (the predecessor of Tokyo University of the Arts) and studied under renowned masters such as Kotaro Nagahara, Mango Kobayashi, and Saburosuke Okada, laying a solid foundation for his later realistic style. In 1934, he co-founded the Taiyang Art Association with his peers Chen Cheng-po, Yang San-lang, Liao Chi-chun, Chen Ching-fen, Li Shih-chiao, and Tetsunari Tateishi. In 1935, "Woman at Rest" received the highest special selection at the 9th Taiwan Exhibition, earning him the "Governor of Taiwan Award." In 1939, "Woman in Red" was selected for the 3rd Bunten Exhibition (formerly the Imperial Japanese Art Exhibition). In 1940, "Flowers and Woman" was selected for the 4th Bunten Exhibition (Imperial Consecration Exhibition), solidifying his historical status as an outstanding Western-style artist in Taiwan. In 1946, he was invited to be a judge for the first Provincial Exhibition, and his work "Sunday" was purchased by the provincial government as a gift for President Chiang Kai-shek. His large-scale works from 1948, such as "Dusk" and "Picnic," are considered representative pieces. After the Retrocession of Taiwan in 1945, he not only engaged in local politics in Sanxia but was also unanimously elected to lead the reconstruction of the Changfu Yan Qingshui Ancestor Temple in 1947. Thereafter, his painting subjects and style increasingly moved towards local realism, showcasing his independent spirit and peerless mastery. After 1962, he served as a professor and head of art departments at various institutions, including Culture University, National Taiwan University of Arts, and National Taiwan Normal University. He guided students from the sculpture department at the University of Arts in participating in the metal relief project for the Sanxia Ancestor Temple, integrating professional artistic techniques into the practice of traditional temple architecture, a pioneering achievement in Taiwan's art education history. Professor Li's contributions to art education extended beyond formal academic instruction. With his rigorous and exquisite aesthetic sensibility, he guided numerous traditional wood and stone carvers commissioned by the Ancestor Temple, transforming it into an "Oriental Palace of Art" adorned with exquisite carvings and a classic example of modern Taiwanese temple architecture. In his later years, he was elected by the art community to hold esteemed positions such as Chairman of the Oil Painting Society, Chairman of the Chinese Artists Association, and Honorary Chairman of the Oil Painting Society. Lee Jing-wen, Executive Director of the Lee Mei-Shu Memorial Foundation