Pang Tseng Ying

NEW YORK TIMES:
“He has seized upon some aspect of a scene with genuine visionary power”
(12-10-54)

HERALD TRIBUNE:
“He has several trends of style, showing free brush work in some, flickering color or an almost Van Gogh-like turn in others and a formal somewhat abstract style in still other canvases. In all of them, he is a competent technician, direct in painting and tasteful in color… His work is influenced clearly by Western ideas.”
(12.25.54)

ART DIGEST:
“Their tenor is generally solemn and moody, especially in the landscapes, where broad and heavy rhythms and dramatic dark colors evok, expressionist overtones… There are occasional surprises, for at times Pang’s palette moves from somber browns and dull greens to an almost fauve brightness, and his simple weighty form can change, as in Trees in Twilight, to on animated dance of fiery trees against the blue night sky.” (1-55)

NEW JERSEY MUSIC AND MW’S:
“With each viewing of the watercolors of Pang Tseng-Ying, one is readily carried into the mystique of Asiatic art at the same time made aware of the ambivalence of his expression. In tonal nuance and harmonious blending of colors. Pang paints an Occidental symphony with Oriental indirection.”

ARTS MAGAZINE:
“Pang Tsing-Ying paints the countryside which poets write about. Working on carefully prepared rice paper his calligraphic strokes sing of rich ancestral heritage. Although born in Tokyo, Pang is unmistakably a Chinese artist. The abstract shapes, amorphous at first glance, soon assume precise pattern and reveal a personal vision of super-realism. A complexity of floating forms, rendered in muted colors, tell brief stories of misty slopes and budding trees. While it is true that this painter began his artistic wanderings under Western influence as a kind of Pascin-Iike portraitist, he has found his true style in lauding his native soil. Pang’s forte is landscape. It is Pang’s ethnical vision and sensitivity that recall Li Ssu-Hsun’s formidable country scenes.” (2-68)

AMERICAN ARTISTS:
“The wealth of imagery in Chinese painting through the centuries offers on inexhaustible resource to the artist. In his art, Tseng-Ying has distilled from that treasure the elements his own needs dictate: the expressive stroke, the flowing, rhythmical movement, the lyrical quality.” (9-68)