Li Mei-Shu Memorial Hall - Painting-Within-a-Painting Series II Playing Cards

Art Appreciation Introducing a special deck of playing cards from the Li Mei-Shu Memorial Hall, showcasing 42 of his masterpieces. Each card comes with an art appreciation note, making it not just a game but also a way to enhance your aesthetic understanding and artistic insight. Several pieces are further detailed with descriptions of the objects within the paintings, allowing you to delve deeper into the artist's thoughtful arrangements and the significance behind each composition. This is a rare chance to collect 25 vivid portraits, 5 classic still lifes, and 12 iconic landscapes by the master Li Mei-Shu, all in one exquisite set. Don't miss this exceptional opportunity! Excerpt / Li Mei-Shu Memorial Hall Product Details Dimensions: 8.7x5.8cm | Material: Paper Collection: Li Mei-Shu Memorial Hall 《Woman Resting》 This portrait depicts his niece-in-law, Liu Tseng-Mei, who was about 25 years old when she sat for Li Mei-Shu. The artist often employed two compositional approaches for his figure paintings: one capturing women at work, and the other depicting them in posed arrangements. This artwork belongs to the latter, with the subject exuding an elegant posture. Dressed in stockings and high heels, she gently touches her lips with her index finger, evoking the vibrant essence of youth in a truly admirable manner. Li Mei-Shu thoughtfully placed elements referencing Western masters like Renoir and Van Gogh in the foreground, enhancing the sense of depth and spatial dimension. In the background, he employed a painting technique known as sfumato, which translates to "smoky" or "hazy." This technique, famously used in Leonardo da Vinci's "Mona Lisa," involves softening the background to create a sense of depth and a less defined, brushstroke-free appearance, thus enhancing the spatial illusion. Additionally, the painting highlights the "Liang Gu" (a type of traditional Korean drum) placed in the lower right corner, explaining its connection to the artwork. Excerpt / Sound Museum https://www.youtube.com/watch?v=XC1XNOyPCDA 《Contemplation》 The large areas of dark tones in this painting serve to accentuate the lighter hues of the subject's blouse and fair skin, with the figure posed gracefully. On the table sits Van Gogh's famous "Sunflowers"—a characteristic feature of Li Mei-Shu's "painting within a painting" style. The artwork also details the intended placement of the exquisite screen behind the figure, offering insights into the artist's artistic considerations. 《Resting I》 The intricate details of the clothing folds and the patterns and colors of the skirt are precisely rendered in this painting. The subject, skilled in sewing, is depicted with a sewing machine. The ceramic vase and the guardian lions are from the artist's personal collection and are now part of the memorial hall's holdings. Artist Introduction 《Young Girl Before a Screen》 The model for this piece is the artist's youngest daughter, Li Yun. Employing a seated posture composition, the variations in the background showcase the artist's self-imposed artistic demands. The emphasis on floral patterns on her skirt harmonizes with the design of the curtains in the background. Elements like the magazine cover figure on her lap and the carved wooden screen enrich the artwork's content, accentuating the subject's elegant and gentle demeanor. Excerpt / Discover Li Mei-Shu Online Art Museum Excerpt / [Art Exploration] Step into Li Mei-Shu's Studio https://www.youtube.com/watch?v=Q1oJViPQgAE 《Autumn Series》 In his later years, Li Mei-Shu visited Japan several times to admire the autumn foliage in places like Towada Lake, Okujimagawa, and Nikko, producing many breathtaking works. The paintings feature a blend of golden zelkova and red maple leaves, sometimes reflecting on the lake's surface, creating a mesmerizing, colorful spectacle. Excerpt / Li Mei-Shu Memorial Hall Artist Introduction Li Mei-Shu (1902-1983) studied at the Normal Department of the Governor-General's Language School in his early years and was deeply influenced by Western painting, sparking his passion for art. His early works, such as "Still Life" (1927) and "Houjie, Sanxia" (1928), were selected for the first and second Taiwan Fine Arts Exhibitions, respectively. In 1928, he moved to Tokyo and pursued his studies at the Kawabata, Doshusha, and Hongou painting institutes. The following year, he passed the entrance examination for the Tokyo School of Fine Arts (predecessor to Tokyo University of the Arts), where he studied under renowned masters like Kotaro Nagahara, Mangou Kobayashi, and Saburosuke Okada, laying a solid foundation for his subsequent realistic style. In 1934, he co-founded the "Taiyang Art Association" with fellow artists Chen Cheng-po, Yan Shui-long, Yang San-lang, Liao Chi-chun, Chen Ching-fen, and Li Shih-chiao. In 1935, "Woman Resting" won the first prize at the 9th Taiwan Fine Arts Exhibition, earning him the "Governor-General of Taiwan Award." In 1939, "Woman in Red" was selected for the third Japan Fine Arts Exhibition (formerly the Imperial Exhibition). In 1940, "Flower and Woman" was selected for the fourth Japan Fine Arts Exhibition (Commemorative Exhibition), solidifying his historical position as an outstanding Western-style artist in Taiwan. In 1946, he was appointed a judge for the first Provincial Exhibition, and his work "Sunday" was purchased by the provincial government for President Chiang Kai-shek. His large-scale works such as "Dusk" and "Picnic" (1948) are considered representative pieces. After Taiwan's retrocession in 1945, he was involved in local politics in Sanxia and was entrusted in 1947 to oversee the reconstruction of the Zushih Temple in Changfu Rock. Subsequently, his painting subjects and style increasingly leaned towards local realism, reflecting his unique and peerless artistic mastery. After 1962, he served as a professor and department head in fine arts at various institutions, including Chinese Culture University, National Taiwan University of Arts, and National Taiwan Normal University. He guided students from the sculpture department at the School of Arts in participating in the metal relief project for the Sanxia Zushih Temple, integrating professional academic skills into traditional temple architecture, a pioneering initiative in Taiwan's art education history. In addition to formal academic education, Professor Li's contributions to the promotion of art education included guiding numerous traditional wood and stone sculptors hired by Zushih Temple with his rigorous and exquisite aesthetic knowledge, transforming Zushih Temple into a "Palace of Oriental Art" adorned with exquisite sculptures and a classic masterpiece of modern Taiwanese temple architecture. In his later years, he held prestigious positions such as Chairman of the Oil Painting Society and Chairman of the National Art Association, and Honorary Chairman of the Oil Painting Society, as recommended by the art community. Li Mei-Shu Memorial Hall CEO, Li Jing-wen