JIANG TIE FENG Vintage 1986 Four Seasons New York Art Expo Art Poster hotsell Wall Décor
JIANG TIE FENG Vintage 1986 Four Seasons New York Art Expo Art Poster hotsell Wall Décor, JIANG TIE FENGFOUR SEASONS 1986 NEW vintage 1986 JIANG poster print in excellent condition on sturdy poster paperText on.
Product code: JIANG TIE FENG Vintage 1986 Four Seasons New York Art Expo Art Poster hotsell Wall Décor
JIANG TIE FENG FOUR SEASONS, 1986 NEW vintage 1986 JIANG poster print in excellent condition on sturdy poster paper Text on poster: Four Seasons, 1986 Fingerhut publishes New York Art EXPO April 3-6, 1986 400 hotsell First Avenue North Suite 232 Minneapolis, MN 55401 Jiang Measurements approximately: Width 36 inches (91.4cm) Height 26 inches (66cm) JIANG TIE-FENG: Chinese Artist: b. 1938 Father of the Yunnan School of modern Chinese art Jiang Tie-Feng was born in 1938, in Ningbo, Zhejiiang Province, in China. Even as a child he displayed a great love and talent for painting and drawing, and early on he knew the course his life would take. Jiang's colors are of unsurpassed richness. A colorist, Jiang's intention was to reverse the trend of the stale Chinese tradition of painting in gray, black, and white. Jiang says: "Chinese art had reached a sick level due to its lack of color." Jiang's use of imagery. Ref#FR0086.
JIANG TIE FENG FOUR SEASONS, 1986 NEW vintage 1986 JIANG poster print in excellent condition on sturdy poster paper Text on poster: Four Seasons, 1986 Fingerhut publishes New York Art EXPO April 3-6, 1986 400 hotsell First Avenue North Suite 232 Minneapolis, MN 55401 Jiang Measurements approximately: Width 36 inches (91.4cm) Height 26 inches (66cm) JIANG TIE-FENG: Chinese Artist: b. 1938 Father of the Yunnan School of modern Chinese art Jiang Tie-Feng was born in 1938, in Ningbo, Zhejiiang Province, in China. Even as a child he displayed a great love and talent for painting and drawing, and early on he knew the course his life would take. Jiang's colors are of unsurpassed richness. A colorist, Jiang's intention was to reverse the trend of the stale Chinese tradition of painting in gray, black, and white. Jiang says: "Chinese art had reached a sick level due to its lack of color." Jiang's use of imagery. Ref#FR0086.