End of the Blazing Sun 7

40 x 40 cm1200 $

The theme of this year's painting clearly states one - the makeup of desire. People's various desires are wrapped under various makeups. Desires are the intertwining of happiness and pain in life. Either straightforward or subtle, they will appear in makeup, forming a profound look of an era.

Inches: 15.7 x 15.7 in
Size without the frame: 40 x 40 cm
Country: China
Date: 2025
Materials: Oil paint on board
Condition: well preserved

Creative themes and style | My works revolve around the creative concept of "The land of humanity, People on the land".The people in the painting are people in nature, and the lines, shapes, and colors are close to nature. The nature in the painting is nature in the eyes of humans, existing in interaction with humans.I don’t pursue a series of works with a fixed and continuous style. I hope that the style of the pictures will synchronize with the changes in my life and always remain oscillating. The performance of the work must be in sync with the development of one's own life in order to be Sincere and powerful.Ideas are later.

If you would like to collect this artwork or know more about the artist, please contact us.

Reference view

Purple figure Painting in wall Purple figure Acrylic painting in room

Artwork Interpretation

Subject and Title
- The painting presents a theatrical portrait of a solitary woman. The title End of the Blazing Sun 7 creates a cold–warm irony: while the name suggests the blazing climax of heat, the image wraps the figure in bluish-gray tones, resembling ashes after fire. The central theme becomes the idea of “clarity after exhaustion.”
Form and Posture
- The body is rendered into angular geometric planes, with knees hugged to the chest and fingers tightly clasped. The shape narrows upward and elongates downward, forming a cone-like tension that conveys unease and self-defense. This “angularized body” recalls Egon Schiele’s twisted poses, though less frantic; here the emphasis is on cold, faceted rationality rather than lash-like linework.
Composition and Space
- The figure sits dead center, engulfed by vast negative space. The dark brown–black background resembles an anechoic chamber, erasing all environmental clues and leaving a sense of “soliloquy on stage.” Her elongated legs anchor the bottom edge as a downbeat rhythm, adding both weight and visual gravity. Her gaze meets the viewer directly, producing confrontation.
Color and Light
- A key strategy lies in the dislocation of warm and cool: the skin is broken into bluish and violet facets, while the clothing carries afterglow orange-pink, like a shell still radiating heat. Along the edges appears a subtle halo of color, separating the figure from the darkness, evoking Francis Bacon’s sense of isolation—though here less brutal, more restrained.
Brushwork and Texture
- The artist employs short, deliberate strokes combined with alternating dry and wet smudges, dividing the volume into planes. Highlights are not pure white but cold blue glints, creating a sense of “faceted cold light.” The method echoes Cubist fragmentation, while maintaining a legible realism.
Temporal and Thermal Atmosphere
- Though the background erases concrete time and place, the palette suggests a twilight blue hour—the sun has retreated, yet the air still radiates residual heat. Time compresses into the cool sheen of skin and the lingering warmth of clothing, narrating an internal-external contrast.
Emotion and Thematic Expression
- The eyes stare outward yet appear adrift; fingers interlocked, toes curled. Together they form an “anxious triad” (eyes–hands–feet). The theme is not mere solitude but rather self-examination after pressure—a reckoning of wounds and strength once the heat has passed.
Viewing Rhythm
- The viewer’s path begins at the cool gleam of the eyes, shifts downward to the interlocked hands, then rests at the violet-gray folds of the feet. This sequence traces recognition → defense → endurance, forcing the viewer into the same bodily memory.
Historical Resonance
- The work recalls Edward Hopper’s isolated spaces, Schiele’s bodily tension, and Bacon’s stage-like estrangement, yet transformed here into a more subdued “psychological cold enamel.” In the Chinese context, it dialogues with He Duoling’s lyrical realism and Zeng Fanzhi’s Mask series.

In summary: through faceted cold light, the work translates the theme of the blazing sun into a confession crystallized after heat.

Similar Works Reference

Egon Schiele – Seated Woman — Shares the tense posture and psychological tightness, though this work replaces linear severity with faceted coolness.
Edward Hopper – Nighthawks — Resonates through vast negative space and emotional isolation, both elevating narrative through silence.
Francis Bacon – Study after Velázquez’s Portrait of Pope Innocent X — Offers reference in its stage-like isolation and ghostly contour light, though this painting chooses restraint.
Amedeo Modigliani – Portrait of Jeanne — Both elongate proportions lyrically; one softens, while End of the Blazing Sun 7 hardens into angularity.
He Duoling – The Spring Breeze Has Already Awoken — A Chinese counterpart in lyrical realism with underlying shadows, providing contrast in tone and memory.
Zeng Fanzhi – Mask Series — Similar in psychological defense and social pressure, echoing the protective posture seen here.

Recommendation: These works align with End of the Blazing Sun 7 across isolated composition, cold–warm disjunction, stage-like space, and bodily rhetoric. Placed side by side, they allow comparison on emotional mechanism, formal strategy, and cultural context.

FAQs

Q1: What is the most striking color feature in the painting?
A1: The subject’s skin and clothing shift between cool blues and warm oranges, creating a strong complementary contrast. The cool tones highlight the icy texture of the skin, while the warm orange dress introduces a subtle sense of warmth, filling the painting with tension through this interplay of opposites.

Q2: What emotion does the figure’s posture convey?
A2: The female figure sits with legs curled, arms wrapped around herself, and her body leaning forward in a compact, defensive position. Combined with her slightly raised head and direct gaze, the posture conveys both suppressed unease and a sense of fragile resilience.

Q3: Why is the background rendered almost completely black?
A3: The deep black background focuses all attention on the figure, stripping away environmental context and making the subject appear both isolated and prominent. The darkness not only enhances the brightness of the orange dress but also expands the viewer’s space for psychological interpretation.

Q4: What value does this work hold in contemporary oil painting?
A4: By employing high-contrast color and the juxtaposition of warm and cool tones, the painting departs from traditional portraiture’s softer expressions and leans toward the psychological intensity of Expressionist oil painting. It highlights both formal and chromatic experimentation, while serving as a key example for studying the theme of isolation in contemporary figurative art.

Q5: What kind of display or collection is this painting best suited for?
A5: With its powerful color dynamics and emotionally charged atmosphere, this work is ideal for display in modern art galleries, private collections, or spaces that emphasize dramatic visual impact. As a piece of contemporary figurative painting, it combines strong visual appeal with scholarly significance, inviting deep psychological resonance—making it highly valuable for both exhibition and collection.