Qiu Ti

Qiu Ti (Chinese: 丘堤; 1906 – 1958), born Qiu Bizhen (Chinese: 丘碧珍) was a female Chinese modernist oil painter. She was one of the only female members of the avant-garde art organization, Storm Society, which advocated for participation in the modernist art movement in China during the 1930s.

Qiu Ti
丘堤
Born
Qiu Bizhen

1906 (1906)
Died1958 (aged 51–52)
NationalityChinese
Other names
  • Qiu Di
  • Schudy
SiglumXX
Education
  • Shanghai Art Academy
  • Tokyo Pacific Ocean Art School
OccupationArtist
OrganizationStorm Society
Notable workFlower
StyleModernist oil painting
Movementpost-impressionist
Spouses
ChildrenPang Tao

Personal life and education

Qiu Ti was born in 1906 in the small town Xiapu in the Fujian province of China. She first enrolled in Xiapu County No. 1 Primary School in 1911, then in 1915 transferred to Xiapu County Girls' Middle School. In 1920, Qiu Ti entered Fuzhou Women's Normal School and dedicated herself to oil painting. She graduated from the Women's Normal School in 1925. After graduating, Qiu Ti married an unknown man with the surname Lin and together went to Beijing where Qiu Ti studied at the Beiping Art Academy while her husband studied economics at a different institution. Not long after moving to Beijing, Qiu Ti fell ill and returned to the south where she moved to Shanghai and enrolled in the Western Art Department at the Shanghai Art Academy.[1][2] Qiu Ti graduated from the Academy in 1928 and traveled to Japan to attend the Tokyo East Asia Japanese Language Professional School and Tokyo Pacific Ocean Art School.[3]

At the end of 1929, she returned to Shanghai and became a researcher in the oil painting department at the Shanghai Art Academy. Not long after, Qiu Ti and her husband divorced. In the fall of 1932, Qiu Ti attended a solo exhibition of Pang Xunqin and met him. They soon after had a love affair. By the following year she had experienced a failed pregnancy and became a member of the Storm Society, founded by Pang Xunqin prior to meeting Qiu Ti.[4]

She died in 1958.[5][6]

Career

In 1930, Qiu Ti returned to China after studying abroad in Japan and began blending post-impressionist art techniques with the delicate art styles from China to create her own art style. Qiu Ti's style was more modern, challenged conservative concepts, and free-spirited.[7] By 1934, three major Shanghai magazines had published pictures of Qiu Ti.[8]

Qiu Ti's artwork that are still extant are oil paintings of landscapes or still life. Taking from post-impressionist techniques, her brushstrokes, which are short and round, are painted diagonally. The middle ground in her artworks had a composition that was commonly used in traditional Chinese landscape paintings. Qiu Ti's painting style was characterized by the mixture of Western brushstroke techniques and Chinese landscape composition.[9]

Involvement in the Storm Society

Qiu Ti had joined the Storm Society by the time of their second exhibition on October 10, 1933. There, she exhibited her work Flower, which had won an award at that exhibition.[10] The award the painting received is cited as being the reason for Qiu Ti's acceptance into the group as the sole female member, despite the male members apparently not needing any sort of group approval to be considered a member. The painting had seemed to generate some amount of discussion, as fellow Storm Society member Ni Yide wrote a statement of defense of the work of art.[11] Qiu Ti also participated in the third Storm Society Exhibition in October, 1934. There she exhibited her work titled Still Life.[12]

Today

Qiu Ti's artwork has been successfully auctioned. The prices of her artwork range from $27,582 to $877,682 depending on the medium used and the size of the artwork. In 2002, one of her artworks named Wild Chrysanthemums was sold in Beijing, China in an auction, which had a bid of $877,682.[13]

Exhibitions
  • World Society Hall, China, 1933. Storm Society exhibition.
  • China, 1934. Storm Society exhibition[14]
  • Art Beatus Vancouver, Canada, 1998. Three Generations of Chinese Modernism.[15]
  • Nanjing, China, 2006. Schudy.

References
  1. Wright, Amanda Sue (2011-11-21). "Qiu Ti's Contributions to Juelanshe and the Intersection of Modernist Ideology, Public Receptivity, and Personal Identity for a Woman Oil Painter in Early Twentieth-Century China". University of Kansas: 15–17, 19. hdl:1808/10389. Retrieved 2021-10-05. {{cite journal}}: Cite journal requires |journal= (help)
  2. Shanghai modern, 1919-1945. Jo-Anne Birnie Danzker, Ken Lum, Sheng Tian Zheng, Museum Villa Stuck, Kunsthalle zu Kiel. Ostfildern-Ruit. 2004. ISBN 3-7757-1497-9. OCLC 56878766.{{cite book}}: CS1 maint: location missing publisher (link) CS1 maint: others (link)
  3. Wright, Amanda Sue (2011-11-21). "Qiu Ti's Contributions to Juelanshe and the Intersection of Modernist Ideology, Public Receptivity, and Personal Identity for a Woman Oil Painter in Early Twentieth-Century China". University of Kansas: 17. hdl:1808/10389. Retrieved 2021-10-05. {{cite journal}}: Cite journal requires |journal= (help)
  4. Wright, Amanda Sue (2011-11-21). "Qiu Ti's Contributions to Juelanshe and the Intersection of Modernist Ideology, Public Receptivity, and Personal Identity for a Woman Oil Painter in Early Twentieth-Century China". University of Kansas: 18. hdl:1808/10389. Retrieved 2021-10-05. {{cite journal}}: Cite journal requires |journal= (help)
  5. Iwatake, Mikako. New Perspectives from Japan and China. Department of World Cultures, University of Helsinki, 2010.
  6. Wright, Amanda Sue (2011-11-21). "Qiu Ti's Contributions to Juelanshe and the Intersection of Modernist Ideology, Public Receptivity, and Personal Identity for a Woman Oil Painter in Early Twentieth-Century China". University of Kansas: 1. hdl:1808/10389. Retrieved 2021-10-05. {{cite journal}}: Cite journal requires |journal= (help)
  7. Bevan, Paul. A Modern Miscellany: Shanghai Cartoon Artists, Shao Xunmeis Circle and the Travels of Jack Chen, 1926-1938. Brill, 2018.
  8. Wright, Amanda Sue (2011-11-21). "Qiu Ti's Contributions to Juelanshe and the Intersection of Modernist Ideology, Public Receptivity, and Personal Identity for a Woman Oil Painter in Early Twentieth-Century China". University of Kansas: 33. hdl:1808/10389. Retrieved 2021-10-05. {{cite journal}}: Cite journal requires |journal= (help)
  9. Hou Xiandai Meixue Yu Shenghuo = Post-Modern Aesthetics and Living. Beishi Meishu Guan, 1996.
  10. Chao, Li (2020). "A Study of "the Storm Society"". In 张謇; 布鲁斯·罗伯逊; Jian, Zhang; Bruce, Robertson (eds.). A Study of "the Storm Society":: Chinese Modernism as a Resource of International Modern Art. pp. 259–282. doi:10.2307/j.ctv16zk03m.20. ISBN 978-1-950192-57-1. JSTOR j.ctv16zk03m.20. S2CID 225315040. Retrieved 2021-03-13. {{cite book}}: |work= ignored (help)
  11. Wright, Amanda Sue (2011-11-21). "Qiu Ti's Contributions to Juelanshe and the Intersection of Modernist Ideology, Public Receptivity, and Personal Identity for a Woman Oil Painter in Early Twentieth-Century China". University of Kansas: 48–9, 52. hdl:1808/10389. Retrieved 2021-10-05. {{cite journal}}: Cite journal requires |journal= (help)
  12. Chao, Li (2020). "A Study of "the Storm Society"". In 张謇; 布鲁斯·罗伯逊; Jian, Zhang; Bruce, Robertson (eds.). A Study of "the Storm Society":: Chinese Modernism as a Resource of International Modern Art. pp. 259–282. doi:10.2307/j.ctv16zk03m.20. ISBN 978-1-950192-57-1. JSTOR j.ctv16zk03m.20. S2CID 225315040. Retrieved 2021-03-13. {{cite book}}: |work= ignored (help)
  13. “QIU TI.” Christie's, https://www.christies.com/lotfinder/Lot/qiu-ti-5638071-details.aspx.
  14. Chao, Li (2020). "A Study of "the Storm Society"". In 张謇; 布鲁斯·罗伯逊; Jian, Zhang; Bruce, Robertson (eds.). A Study of "the Storm Society":: Chinese Modernism as a Resource of International Modern Art. pp. 259–282. doi:10.2307/j.ctv16zk03m.20. ISBN 978-1-950192-57-1. JSTOR j.ctv16zk03m.20. S2CID 225315040. Retrieved 2021-03-13. {{cite book}}: |work= ignored (help)
  15. "Art Beatus Gallery". Art Beatus Gallery... Showcasing international art with a focus on contemporary Chinese art. Retrieved 15 December 2021.
This article is issued from Wikipedia. The text is licensed under Creative Commons - Attribution - Sharealike. Additional terms may apply for the media files.