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• Lot n° 3042 Li Qiang (b. 1965) "It's Not Corn" Watercolor, gouache, and ink on fabric with a printed paper border, all laid to paper, as issued Signed and inscribed in Chinese in black ink and with a red ink chopmark, all near the center of the left edge; titled in pencil, in another hand, on a label strung to the frame's hanging wire Sheet: 12.25" H x 16" W; Sight (with printed paper border): 17.5" H x 21.25" W Exhibited: Phoenix Art Museum, Phoenix, AZ, "Transition & Transformation: Chinese Art From the Leslie & Gerry Jones Collection 1965-1995," September 25, 2004-April 17, 2005 Literature: Janet Baker and Gerry Jones, "Transition & Transformation: Chinese Art From the Leslie & Gerry Jones Collection 1965-1995" (Phoenix Art Museum, Phoenix, AZ, 2004) p. 32, illustrated Other notes: The Phoenix Art Museum exhibition catalogue describes the painting: "The title of this painting is a play on words, since it depicts maize, a type of grain similar to corn. It is grown widely in China as a staple food for humans and animals, and is used to distill alcoholic beverages. The never-ending agricultural cycles of rural China form the core of peasant life, including such tasks as carrying water from a well, minding children, tilling the soil and harvesting the crops. The close-up view and detailed rendering of the plants contrast with the abbreviated rendering and small scale of the human figures, serving as a reminder of the insignificance of humanity in comparison with the natural world." Born in Nanjing in 1965, Li Qiang is a graduate of the Nanjing University of the Arts, where he specialized in Chinese painting. Li was a winner of the prestigious Liu Haisu Scholarship, named for the prominent Chinese modern artist and educator, considered among the four modernizers of Chinese painting. Li is currently a professional painter at the Nanjing Painting Institute and a member of the China Artists Association. His works are in the collection of the Jiangsu Art Museum and the China Art Museum in Beijing. As with the works in the present collection, he often employs the difficult and painstaking tradition of "gongbi" ("tidy" or "meticulous" brush) in his whimsical and exquisitely rendered images of peasant and rural life. Overall good appearance. Not examined out of the frame. Framed under glass: 19.25" H x 22.75" W x 1.375" D