Introduction, Page 10
Many of the painters in this history were doubly important as educators, authoring articles and important books about Chinese painting history and technique.5 For example, artist Wang Yachen famously became a personal ink painting teacher to Jacqueline Kennedy during the years immediately following the assassination of President John F. Kennedy.
In 1956, Paul Hau moved to the San Francisco Bay Area, where he was immediately befriended by both Yang Ling-fu and Shu-chi Chang. His approach to painting already reflected the roughly dynamic brushwork that was becoming a hallmark of Chinese painters in Northern California. Shortly after Hau’s arrival, a trio of artists who had been trained at the China Art Academy in Hangzhou but had left China for Taiwan all relocated to the Bay Area with the help of Kai-yu Hsu, who arranged invitations for early exhibi- tions of their work at San Francisco State University. They were James Yeh-jau Liu, Cheng Yet-por, and Wang Chang-chieh (who also abbreviated his name as C. C. Wang). They often exhibited together, and each developed a distinctively contemporary approach to ink painting. Their work was exhibited at the Laky Gallery, which operated spaces in San Francisco, Carmel, and Los Angeles; in San Francisco Chinatown galleries, such as the small Chinese Art Center at 49 Waverly Place, opened in 1965 by Cantonese-speaking painter Lin Ching-ai; and at the East Wind Gallery, opened by painter Wang Liu-sang after he arrived from Hong Kong in 1960. Cheng Yet-por opened a Chinese art gallery in Carmel at roughly the same time.
In 1956, Paul Hau moved to the San Francisco Bay Area, where he was immediately befriended by both Yang Ling-fu and Shu-chi Chang. His approach to painting already reflected the roughly dynamic brushwork that was becoming a hallmark of Chinese painters in Northern California. Shortly after Hau’s arrival, a trio of artists who had been trained at the China Art Academy in Hangzhou but had left China for Taiwan all relocated to the Bay Area with the help of Kai-yu Hsu, who arranged invitations for early exhibi- tions of their work at San Francisco State University. They were James Yeh-jau Liu, Cheng Yet-por, and Wang Chang-chieh (who also abbreviated his name as C. C. Wang). They often exhibited together, and each developed a distinctively contemporary approach to ink painting. Their work was exhibited at the Laky Gallery, which operated spaces in San Francisco, Carmel, and Los Angeles; in San Francisco Chinatown galleries, such as the small Chinese Art Center at 49 Waverly Place, opened in 1965 by Cantonese-speaking painter Lin Ching-ai; and at the East Wind Gallery, opened by painter Wang Liu-sang after he arrived from Hong Kong in 1960. Cheng Yet-por opened a Chinese art gallery in Carmel at roughly the same time.
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