En 1974, Chu Teh-Chun a découvert sa propre écriture artistique. Cette œuvre reflète clairement sa fusion de la technique de la peinture à l'huile, caractérisée par une grande densité, avec la tradition de la peinture chinoise, marquée par des superpositions et des transparences, particulièrement présentes dans la partiesupérieure droite du tableau. Les années 70 correspondent à la période la plus sombre de l'œuvre de l'artiste. Cependant, lorsqu'il a eu l'occasion de voir les œuvres de Rembrandt de ses propres yeux lors d'une exposition rétrospective en 1969, il a été fasciné par les jeux de clair-obscur de Rembrandt, ce qui l'a amené à créer des zones lumineuses d'une intensité particulière dans ses propres œuvres.

On peut observer dans cette œuvre une sorte d'incandescence en haut à gauche dutableau, qui semble se refléter en bas. L'œuvre est très dynamique, marquée par une diagonale qui sépare, le long d'une ligne oblique, une partie plus légère, caractérisée par ses transparences, d'une zone plus sombre, qui a davantage de poids et ressemble à une base du tableau, agissant comme une frontière entre le ciel et la terre. Le trait.mes nt de la partie supérieure du tableau évoque un paysage en fin de journée, avec un ciel qui s'assombrit et un soleil projetant ses derniers rayons.

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In 1974, Chu Teh-Chun discovered his own artistic style. This work clearly reflects his fusion of oil painting technique, characterized by great density, with the tradition of Chinese painting, marked by overlays and transparencies, particularly present in the upper right part of the painting. The 1970s correspond to the darkest period of the artist's work. However, when he had the opportunity to see Rembrandt's works with his own eyes at a retrospective exhibition in 1969, he was fascinated by Rembrandt's play of light and shadow, which led him to create luminous areas of particular intensity in his own works.

In this artwork, one can observe a kind of incandescence in the upper left part of the painting, which seems to be reflected below. The work is very dynamic, marked by a diagonal that separates, along an oblique line, a lighter part characterized by its transparencies from a darker area that has more weight and resembles a base of the painting, acting as a boundary between the sky and the earth. The treatment of the upper part of the painting evokes a landscape at the end of the day, with a darkening sky and a sun projecting its last ray.

Text courtesy of Chu Teh-Chun Foundation.

In 1969, Chu Teh-Chun visited a retrospective exhibition of Rembrandt, thus beginning a new set of visual language inspired by the Dutch master. Chu's oeuvre in the 1970s were dominated by strong maneuver of light and shadow that is reminiscent of the use of chiaroscuro. Reminiscent of Rembrandt's portraits with dark background with dramatic lighting shone on the sitter, Chu painted the background of Le 3 Mars 1974 in dark tones, creating a sharp contrast between the background and the bright yellow and highlights on-top. This interplay of extreme contrast between light and shadow echos the Taoism philosophy of Yin and Yang, which is a signature feature in the artist's 1970s oeuvre.


During the 1970s, Chu refined his paintings with a more confident and distinct abstract language. While nature remains a main source of inspiration for the artist, he no longer fixates on the objective image of the views. Instead, he starts to look inward for inspiration, focusing on his 'inner images' and 'mental images', and using them as a source for his painting. In Le 3 Mars 1974, one can see the artist's composition and brushstrokes is no longer restricted by format and shapes, reflecting on the artist's newfound artistic expression. 

During this t.mes , Chu Teh-Chun revisited calligraphy, a practice that began having great influence on his oil paintings. In contrast to his works from the 1960s that emphasized on geometric composition, his works from the 1970s is painted with fluid motions and calligraphic strokes. An example of how the artist's present traditional Chinese aesthetic with Lyrical Abstraction as an expression.

1969年，朱德群前往荷蘭參觀「倫勃朗三百週年誕辰紀念大展」，深受倫勃朗畫中光與影啟發，從而開始了一種新的繪畫風格。因此，朱德群1970年代的作品以強烈的光影對比與反差著稱，讓人回想起倫勃朗著名的明暗對比技巧。本作創作於1974年，是藝術家此時期標誌性風格的典例之一。
朱德群在《1974年3月3日》中以黑暗的背景和劇烈的光線，讓人想起倫勃朗的肖像畫。作品的背景以深色調繪製，與明亮的黃色和高光形成鮮明對比。這種光與影之間的極端對比呼應了道教的陰陽哲學，是藝術家1970年代作品中的標誌性特徵之一。


在1970年代，朱德群以更明確及直接的抽象語言來詮釋他的畫作。雖然自然依然是藝術家的主要靈感來源，但他不再過於關注景觀的真實形象，而是開始向內尋求創作靈感。藝評家高天民談及朱德群的創作轉變時，認為「從七十年代之後，朱德群的自然觀開始發生了根本的變化，自然已逐步幻化為他際遇未來的『內象』或『心象』，而非『對象』。」在《1974年3月3日》中，可以看到藝術家的構圖和下筆不再受形式的限制，反映出他全新的灑脫藝術表達。 此時期，朱德群重新開始中國書法創作，此舉對他1970年代的油畫風格產生了重大影響。與他1960年代強調幾何構圖的作品相比，1970年代的作品則突出流暢的構圖和書法筆觸。這些作品展示了藝術家將傳統中國美學與抒情抽象相融的全新藝術表達方式。