Madam by Mao Yan

Mao Yan, Madam, 2022, oil on canvas, 150 cm × 100 cm (59-1/16" × 39-3/8") © Mao Yan

Mao Yan

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b. 1968, Xiangtan, Hunan Province, China

Mao Yan is recognized as a key figure of contemporary art in China, with a practice focusing on the essence of painting and portraiture rather than strict representation.

His exploration of painting proposes stylistic and technical innovations while drawing on the tropes of European painting. Mao’s portraits eschew specific cultural or temporal signifiers, and his reduced palette of cool gray and blue tones is used as a compositional device, and which he deems a subject of his work in itself.

Drawn to painting as a child, Mao Yan was introduced to the practice through his father, who exposed him to Soviet-era painting and European masters such as Eugène Delacroix. Mao learned advanced painting techniques in his adolescence and, in the late 1980s, went on to study oil painting at the Central Academy of Fine Arts, Beijing, where he became interested in figure painting and portraiture. For many young Chinese artists of Mao’s generation, the post-1989 period represented change. The exposure to a broader set of international art movements—from Abstract Expressionism to Pop and Conceptual art—resulted in the emergence of Chinese contemporary movements such as Cynical Realism and Political Pop. Mao Yan, however, found himself looking far back in history, finding inspiration in Old Masters such as Goya and Rembrandt. Mao’s figurative paintings began to reveal a deliberate focus on classical pose and drapery.

Portrait of Xiao Shan by Mao Yan

Mao Yan, Portrait of Xiao Shan, 1992, oil on canvas, 170 cm × 100 cm © Mao Yan

After graduating with a bachelor’s degree in 1991, Mao left Beijing’s flourishing contemporary art scene and relocated to Nanjing, where he taught at Nanjing University of the Arts and developed his first series of portraits. Drawing from his circle of friends, his early subjects were often rendered as full-length figures set in unspecified interiors or as tightly cropped bust portraits set in front of mountainscapes. He depicted the expressive gaze of his sitters and accentuated details of clothing and accessories through a palette of bright reds, blues, and ochers.

Mao’s first one-artist exhibition, The Drawing Works of Mao Yan, was held at the Nanjing Academy of Fine Arts, China in 1992. He was honored twice in 1994, with the Chinese Oil Painting Art Prize Award, China, and the Excellent Art Work Prize Award, China. Three years later, his second monographic exhibition was presented at Nanjing Pinge Art Guild, China (1997). Mao’s painting style continued to evolve throughout the mid-1990s, resulting in foreshortened, full-length figures and busts removed from any discernable environment. His backgrounds came to be comprised of expressionistic brushstrokes in a corresponding palette of earthy, subdued tones.

While Mao’s contemporaries were grounding their practices in Chinese symbolism, gestures, and conceptual frameworks, Mao sought to distance himself from cultural labels, which he considered reductive. His desire to paint friends, relatively unknown to larger audiences, corresponded to a refusal of popular readings and sentimentality. His paintings of Thomas Rohdewald, a foreign student taking Chinese language courses, and other non-Chinese subjects enabled him to move away from nationalistic associations. Mao met Rohdewald in 1998 and began painting him the following year. Developing from an initial detailed drawing, the renderings gradually became loose and atmospheric—spectral portraits emerging from a painterly haze of blue-gray sfumato. Revitalizing his exploration of the figure, Mao continued to distill his painterly language, resulting in a prolific output of a single subject and, later, the addition of animals and nude female subjects.

Small Portrait of Thomas by Mao Yan

Mao Yan, Small Portrait of Thomas, 2005, oil on canvas, 36 cm × 27.8 cm © Mao Yan

Thomas on the Chair by Mao Yan

Mao Yan, Thomas on the Chair, 2009, oil on canvas, 330 cm × 200 cm © Mao Yan

At the onset of the following decade, Mao was included in two group exhibitions at The National Art Museum of China, Beijing: Chinese Oil Painting in the 20th Century (2000), and Towards a New Image: Twenty Years of Contemporary Chinese Painting (2001), both of which traveled to the Shanghai Art Museum. His work was also included in Mahjong: Contemporary Chinese Art from the Sigg Collection, held at the Kunstmuseum Bern, Switzerland (2005), which traveled to the Hamburger Kunsthalle, Hamburg, Germany (2006–2007); Salzburg Museum der Moderne, Austria (2007); University of California, Berkeley Art Museum and Pacific Film Archive (2008–2009); and the Peabody Essex Museum, Salem, Massachusetts (2009). Other group exhibitions include The Second Triennial of Chinese Contemporary Art, Nanjing Museum, China (2005); China's Neo Painting: A Triumph over Images, Shanghai Art Museum (2007); China: Construction / Deconstruction, Museu de Arte Moderna de São Paulo (2008); The 23rd Asia International Fine Art Exhibition, Guangzhou (2008); Chinamania, ARKEN Museum of Contemporary Art, Ishøj, Denmark (2009); Collecting History: China New Art, Chengdu Museum of Contemporary Art, China, (2011); In Time—2012 Chinese Oil Painting Biennale, The National Art Museum of China, Beijing (2012); Skin’s Literary Form: Dual Exhibition by He Duoling and Mao Yan, Art Museum of Nanjing University of the Arts, China (2014); Duration: Chinese Art in Transformation, Beijing Minsheng Art Museum (2020); Rhythm and Being In the World, Long Museum, Shanghai (2022–2023); Another Story, M+ Sigg Collection, Hong Kong (2023); and Portraits: The Tenth Anniversary of the Long Museum, Long Museum, Shanghai (2023–2024).

Oval Portrait - Posie Musgrau No. 2 by Mao Yan

Mao Yan, Oval Portrait - Posie Musgrau No. 2, 2010, oil on canvas, 72.5 cm × 53.5 cm © Mao Yan

In 2010, Mao traveled to Scotland to participate in the Glenfiddich Artists in Residence Program, where he painted a series of portraits of workers from the Glenfiddich distillery. The residency culminated in the exhibition Mao Yan in Dufftown at ShanghART H-Space, Shanghai (2010). In 2023, Mao was the subject of a solo exhibition organized by the Song Art Museum, Beijing. Since joining Pace in 2013, he has had four solo exhibitions at Pace Gallery, in Beijing (2013), New York (2015), Hong Kong (2018), and London (2024).

Mao’s work is held in numerous private and public collections, including the Yuz Museum, Shanghai; University Museum and Art Gallery, The University of Hong Kong; Shanghai Art Museum; Shenzhen Art Museum, China; Upriver Gallery, Chengdu; and the Start Museum, Shanghai.

Among his awards and honors, he was named the Martell Artist of the Year by the Today Art Museum, Beijing, in 2013.

Mao Yan has been represented by Pace since 2013.

Fish Head for Goya by Mao Yan

Mao Yan, Fish Head for Goya, 2012, 130 cm × 90 cm © Mao Yan

Huihui by Mao Yan

Mao Yan, Huihui, 2012, 27.8 cm × 90 cm © Mao Yan

Faerie on the Chair by Mao Yan

Mao Yan, Faerie on the Chair, 2013, oil on canvas, 330 cm × 200 cm © Mao Yan

Woman with a Mirror by Mao Yan

Mao Yan, Woman with a Mirror, 2017-2018, oil on canvas, 130 cm × 90 cm (51-3/16" × 35-7/16") © Mao Yan

Reflection in a Night Scene (Studio) by Mao Yan

Mao Yan, Reflection in a Night Scene (Studio), 2021, oil on canvas, 150 cm × 100 cm (59-1/16" × 39-3/8") © Mao Yan

Broken Teeth No. 7 by Mao Yan

Mao Yan, Broken Teeth No. 7, 2022, oil on canvas, 40 cm × 30 cm (15-3/4" × 11-13/16") © Mao Yan