Z.S. Liang, Western Art Collector, November 2012

INSIDE The West Select • Sporting Art • Miniatures & Small Works • Santa Fe Art Auction november 2012

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As seen in the November 2012 issue of

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Timeless Narratives WESTERN ART INSIGHTS

Trailside Galleries unveils new major works by master artist Z.S. Liang.

By John Geraghty

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Gesture of Friendship 1830, oil on linen, 38 x 52�

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WESTERN ART INSIGHTS

The Gift of Spring, oil on linen, 25 x 36”

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orking with my friend Zhou Liang has been a rewarding experience; we enjoy our times together discussing new ideas, exchanging alternative variations in subject matter and technique.

Zhou has an unassuming, quiet and peaceful disposition, appreciative of the national expansion of his collector base and the appreciation of his art. He is dedicated to his impassioned pattern of research. Each morning he spends several hours reading, and often he travels to the reservations of the Plains people where he has made several close friends including numerous tribal elders. He has set with these people within their lodges, attended their sacred ceremonies; he is a truly unique and visionary artist committed to telling their stories.

Zhou is an extremely hard worker—often

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working into the evening—painting in his new studio, a large room in the home he shares with his wife Li-Xin and their two young daughters.

Before making my annual art trek to Wyoming to visit several friends and galleries, and attending the festive events associated with the National Museum of Wildlife Art and the Jackson Hole Art Auction, I had the pleasure of visiting with Zhou numerous times as he was preparing for his solo show at Trailside Galleries in Scottsdale, Arizona, on November 10—an event that has been in the planning stages for the last five years. Upon my return, as promised, I called Zhou to observe his progress and drove the following day to his home.

This rather small, however important, body of work is diverse in subject matter, and each work is exceptional; they contain a freshness

and originality, he is creating timeless historical narratives that will resonate for years to come.

Generally, all artists are often faced with complexities and problematic challenges to be resolved; some paintings seem to flow with little effort, others present these compositional problems that seem impossible to resolve. No one can produce a level 10 work of art each time they set before their easel, but these specific works, in my opinion, are an exception to the norm. Each work appears effortless, each brushstroke purposeful; each painting communicates its own story. These works represent the heart and soul of Z.S. Liang.

One of the primary missions of this publication is to inform you, the readers, about what is happening in the Western art market, to provide comprehensive and insightful educational information for collectors of

Distant Intruders, oil on linen, 40 x 30”

Western art; and, to cover exceptional events.

Although the November issue was in the preproduction stages, I contacted Josh Rose, the editor, and, after describing the assemblage of this presentation, he agreed we should include this exceptional effort by Z.S. Liang within the pages of Western Art Collector.

With the assistance of Zhou, I am including my thoughts and a description of each of these five major works; there are two additional smaller works that have not been completed.

The Gift of Spring Under the morning sun, during the moon of the new grass in the month of May in the encampment of the Cheyenne, a young mother and her first-born daughter are admiring their 3-month-old baby—a blessing from the great spirit, a new beginning of life.

Pride of the Lakota, oil on linen, 48 x 28”

Zhou has created a sensitive portrayal of the intense affection of family within these peoples of the Plains; they lived a highly structured religious life.

The direct use of the morning light and shadow combined with the reflective light from the buffalo hide creates the perfect focal point of the carefully composed figures, each interacting with the cradle board supporting the baby. Most of the detail is skillfully suggested with the exception of the hands and faces, which are masterfully painted; their expressions tell the story.

on attacking his village and stealing their horses. He has spotted two riders on the far edge of the meadow and will closely observe them, possibly he may approach these riders and give fair warning, or if additional riders appear, he will ride to the encampment to warn his people of the possible danger. Zhou has captured the moment, the facial expression of the sentry, and the recognition of movement in the distantance by his mount. The signs of a warrior and that of brave deeds painted upon the horse and himself, give warning he is not one to be challenged.

Distant Intruders

Pride of the Lakota

This experienced Crow warrior has accepted the responsibility of sentry duty patrolling the area West of their tribal encampment; he must keep it safe from enemy bands intent

Zhou created this painting from information within a documentary about a Two Kettle chief of the Lakota tribe, Black Rock, a man of great deeds, numerous honors and highly respected

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WESTERN ART INSIGHTS

by his tribe.

As an observer you are drawn to this image, it is extremely powerful; the figure is a manifestation of power and strength. The eagle headdress earned through success in battle, the buffalo robe records multiple deeds of courage. The abstract shapes and forms in the background complement the power of the figure.

Gesture of Friendship 1830 This Kootenai hunter with a small band has entered the Blackfoot territory in search of buffalo. Although they are a distant tribe, they are aware of the aggressive response of the Blackfoot to any intruders and their families, and the tribe is in need of food to sustain them through the winter. They offer to smoke the pipe of peace; they bring gifts of wild berries and horses to seek permission for the hunt. Once the Blackfoot are convinced they come in peace, they will allow the Kootenai to hunt to provide for their people.

Zhou has chosen a rather large canvas to provide the ability to introduce the figures in a scale that can demonstrate the tension between the figures. He has composed this composition from the perspective of the Kootenai hunter, the Blackfoot are strong in number and their expressions indicate little tolerance for these intruders. The figures are large and formidable, the positioning and movement of the horses create a sense of tension. The pinto horse of the war chief, the red saddle blanket of the Kootenai hunter and the red trade cloth decorations of the spear carried by the Blackfoot warrior on the right hold the composition together.

The Traveler This Blackfoot woman from the Fish Eaters Clan has traveled long distances with her faithful dog caring her belongings on the travois from camp to camp, attempting to locate her long lost younger sister.

Her face tells the story of a difficult life; alone she continues on with faith in her mission, the beaded necklace, her only personal possession; a compelling painting masterfully composed by Zhou.

The Traveler, oil on linen, 42 x 28�

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Young Crow, oil on linen, 9 x 12”

About John Geraghty John Geraghty, Trustee and Special Advisor to the Autry National Center’s Masters of the American West Fine Art Exhibition and Sale, shares his insights on the Western art scene. Both he and wife Saralynn are afflicted with the incurable passion of collecting Western art.

Big Elk, oil on linen, 9 x 12”

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