Who painted Landscape in the Style of Ancient Masters: after Gao Kegong?

Landscape in the Style of Ancient Masters: after Gao Kegong was painted by Lan Ying in 1642.

Where can I see Landscape in the Style of Ancient Masters: after Gao Kegong?

Landscape in the Style of Ancient Masters: after Gao Kegong is held by Art Institute of Chicago.

What movement is Landscape in the Style of Ancient Masters: after Gao Kegong?

Landscape in the Style of Ancient Masters: after Gao Kegong is associated with Baroque.

Can I buy a print of Landscape in the Style of Ancient Masters: after Gao Kegong?

Museum-quality prints of Landscape in the Style of Ancient Masters: after Gao Kegong are available made-to-order from Artifact World Gallery.

Artwork

Landscape in the Style of Ancient Masters: after Gao Kegong

Lan Ying , 1642

Landscape in the Style of Ancient Masters: after Gao Kegong is an ink painting by the Baroque artist Lan Ying. It dates from 1642 and is held in the collection of the Art Institute of Chicago.

Accession no.: 8209
Credit line: Samuel M. Nickerson fund

About this work

Overview

Landscape in the Style of Ancient Masters: after Gao Kegong is a 1642 album leaf painting by Lan Ying, executed in ink and color on paper, currently part of the collection at the Art Institute of Chicago.

Subject & Meaning

The painting depicts a serene mountain landscape with trees on rocky slopes, a small temple enveloped in mist, and a solitary scholar on a winding path, paying homage to the style of Gao Kegong, a Yuan-dynasty artist.

Technique & Style

Lan Ying employed traditional techniques, notably ink brushwork reminiscent of Gao Kegong's Yuan-dynasty style, characterized by expressive, economical strokes that evoke depth and texture, with cross-hatching contributing to the piece's visual depth.

History & Provenance

Created in 1642 during the Ming dynasty, this work reflects the period's appreciation for tributes to past masters. Its current location is the Art Institute of Chicago.

Context

The piece exemplifies the Ming court's fondness for 'after' paintings, which served as visual homages to earlier artistic achievements, in this case, bridging a 300-year gap between Lan Ying and Gao Kegong.