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.
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Artwork Interpretation
Subject and Title
This is a half-length female portrait, conceived as a sensory body rather than a narrative figure. The title The End of the Blazing Sun is rendered in cool tones, creating a cold–warm irony that translates “blazing heat” into a state of clarity after residual warmth.
Form and Structure
The elongated neck and shoulders, along with the chest constructed from triangles and curved planes, give the figure a stylized geometry. The body is outlined with powdered contour lines, resembling cloisonné channels, which transform the flesh into something relief-like and fragmented.
Composition and Square Tension
The figure leans to the right, while the left side contains a wide weathered negative space resembling a timeworn wall. The body follows an S-shaped diagonal, breaking the stillness of the square format. The weight sinks into the lower left corner, producing a diagonal flow.
Color and Light
The palette is dominated by cobalt blue, violet, and mint green, while the skin shifts among pale ochre, rose-violet, and orange-yellow in complementary drift. Highlights are defined by cool blue rim light, with traces of halation along the edges. The figure appears like stained glass backlit against darkness. The grayed-down chroma suppresses brightness yet enhances a metallic cool sheen.
Brushwork and Texture
The background is built through rubbing and dry brushing, resembling mineral deposits. The contour lines are drawn with chalk-like strokes that slightly rise from the surface. Interior color blocks blend through wet-on-wet transitions, producing a rhythm of “faceting and polishing.”
Space and Materiality
Environmental references are erased, leaving only a shallow stage of rim light. The fabric and flesh alternate between hard edges and soft gradations, creating the sense of a “cold enamel body.”
Emotion and Theme
The lowered gaze and muted lips suggest a stance of both intimacy and withdrawal. The work resists erotic excess, instead presenting self-possessed sensuality after the heat has faded: warmth lingers on the surface, while the mind retreats into restraint and cool detachment.
Historical Resonance and Method
The combination of “cloisonné-like contours and grayed complementary tones” recalls Post-Impressionist Cloisonnism while also absorbing the cool glamour of Art Deco.
In summary: the work replaces the “piling of flesh” with the “casting of line,” using cold light to give the body its final shape.
Similar Works Reference
Paul Gauguin – The Yellow Christ — Uses cloisonné outlines and flattened fields to heighten spiritual atmosphere; here the method is adapted for a cold-toned body.
Émile Bernard – Breton Women after the Sermon — A classic of Cloisonnism; comparable to this painting’s use of contour divisions.
Alphonse Mucha – Gismonda — Features Art Nouveau S-curves and ornamental women; this work, however, substitutes cool rim lighting for poster-like flatness.
Tamara de Lempicka – Self-Portrait (in the Green Bugatti) — Exemplifies Art Deco geometry and sculptural coolness; here echoed in softer powdered hard edges.
Amedeo Modigliani – Portrait of Jeanne Hébuterne — The elongated neck and triangular chest parallel this work’s proportions and lyrical elongation.
Lin Fengmian – Lady — Offers a model of Eastern decorative clarity and spatial blankness; in this painting, the weathered negative space is amplified for a sense of time’s erosion.
Recommendation: These works resonate with The End of the Blazing Sun 9 through their use of contour dominance, cold–warm disjunction, ornamental figuration, and square-format tension, helping us grasp its expressive system of shaping by line and defining by cold light.
Q1: What is distinctive about the use of color in this painting?
A1: The figure’s skin tones are not rendered in plain flesh color but are layered with violet, orange, and gray-blue hues, creating a textured interplay of warm and cool tones. The light greenish tint of the hair resonates with the blue of the clothing, reinforcing the harmony of the overall composition.
Q2: How is the figure’s form expressed in a unique way?
A2: The body’s contour is drawn with bold, defined lines, almost resembling the cut surfaces of a sculpture. This gives the figure both the flatness of two-dimensional painting and the suggestion of three-dimensional carving. Such treatment introduces a semi-abstract, modern quality to the work.
Q3: What role does the background color play in the atmosphere of the piece?
A3: Instead of being filled with a flat tone, the background is composed of muted brown-gray, purplish red, and green washes, creating a sense of transitional space. It not only highlights the bright silhouette of the figure but also imbues the work with a dreamlike depth.
Q4: What is the value of this work in the context of contemporary female portraiture?
A4: The painting breaks away from the limits of traditional realism, emphasizing the psychological suggestiveness of line and color. With its traits of modern abstract figurative painting, it holds value for academic study and art exhibitions, showcasing the artist’s exploration of both form deconstruction and color expression.
Q5: From a display and collection perspective, what advantages does this painting offer?
A5: The composition balances softness and tension, combining color and line in a way that reflects the essence of an expressionist female portrait. Whether placed in a private art collection or displayed in a contemporary art space, it conveys both striking visual impact and intellectual depth, enhancing its collectible significance.
A: Click here to view ARTPHILOSO's Guide for Collectors.
More paintings from this series：
End of the Blazing Sun 1 End of the Blazing Sun 2
End of the Blazing Sun 3 End of the Blazing Sun 4
End of the Blazing Sun 5 End of the Blazing Sun 6
End of the Blazing Sun 7 End of the Blazing Sun 8
