Who painted River-Crossing in the Spring?

River-Crossing in the Spring was painted by Yuan Jiang in 1714.

Where can I see River-Crossing in the Spring?

River-Crossing in the Spring is held by Los Angeles County Museum of Art.

What movement is River-Crossing in the Spring?

River-Crossing in the Spring is associated with Chinese Orthodox School.

Artwork

River-Crossing in the Spring

Yuan Jiang , 1714

River-Crossing in the Spring is an unspecified painting by the Chinese Orthodox School artist Yuan Jiang. It dates from 1714 and is held in the collection of the Los Angeles County Museum of Art.

About this work

Overview

River‑Crossing in the Spring, painted by Yuan Jiang in 1714, is a modestly sized work in the collection of the Los Angeles County Museum of Art. The composition presents a quiet riverside scene where water, trees and stone coexist under a muted sky, inviting the viewer into a moment of stillness.

Subject & Meaning

The painting centers on a solitary tree whose branches reach upward, set against a gently flowing river. The calm water mirrors the surrounding foliage, suggesting a harmonious relationship between nature’s elements. The overall mood conveys tranquility, perhaps reflecting the artist’s appreciation for the quiet rhythms of the spring landscape.

Technique & Style

Yuan Jiang employs a restrained palette of soft, earth‑toned hues, allowing the scene’s forms to emerge without dramatic contrast. Brushwork is delicate, especially in the rendering of water’s surface and the foliage’s texture, creating a sense of atmospheric depth while maintaining the painting’s overall serenity.

History & Provenance

Created in the early eighteenth century, the work eventually entered the holdings of the Los Angeles County Museum of Art, where it remains on view. Its provenance prior to acquisition by the museum is not extensively documented, but the piece has been recognized as a representative example of Yuan Jiang’s landscape oeuvre.

Context

Yuan Jiang was active during the Qing dynasty, a period when literati painters often emphasized personal expression over strict realism. River‑Crossing in the Spring aligns with this tradition, focusing on mood and the subtle interplay of natural elements rather than precise topographical detail, situating the work within broader Chinese landscape conventions of its time.