Since the establishment of Galerie de France in 1942, the gallery has been a staunch advocate for abstract art in France. Alongside Zao Wou-Ki, it has showcased the works of celebrated French abstract artists such as Hans Hartung and Pierre Soulages. This piece, 17.02.65, first found its home at Galerie de France and has since been treasured by European galleries and private collects ors. It has never been publicly auctioned, making it a rare gem from the artist’s "Hurricane" Period, seldom seen in the market.


Zao Wou-Ki debuted at Galerie de France back in 1957. With the backing of gallery director Myriam Prévot, his artistic journey swiftly took off, showcasing his works across Europe and America. In 1968, this artwork was displayed at Frank Perls Gallery's Zao Wou-Ki Solo Exhibition in Beverly Hills, as well as at San Francisco Museum of Art's Works by Zao Wou-Ki exhibition, both events being documented in the catalog. It's worth noting that the exhibition at San Francisco Museum of Art marks the artist's debut solo show at a national museum in the United States, revealing Zao Wou-Ki's groundbreaking achievements as a Chinese artist in the American art world.


In 1957, Zao Wou-Ki embarked on a journey to the Americas, diving into the world of American Abstract Expressionism led by the "New York School". At the same t.mes , he teamed up with the famous Kootz Gallery in New York. Through Kootz, Zao Wou-Ki truly soaked in the essence of American Abstract Expressionism. His brushstrokes became bolder and more unrestrained. The ancient, rugged characters from his "Oracle Bone" Period gradually melted into the wild strokes of "Hurricane", showcasing the artist's elevated creative spirit. This piece was crafted during this pinnacle period. 

In 1966, Kootz underwent a personal business transformation, announcing the end of gallery operations. Consequently, Zao Wou-Ki did not hold a solo exhibition in New York for fifteen years. 17.02.65 captures Zao Wou-Ki's zenith in the American art world, marking the maturity style of his "Hurricane" Period.


Works from the artist’s "Hurricane" Period often feature a three-part structure, drawing inspiration not only from the vast landscapes of traditional Chinese landscape paintings but also reflecting Rothko's iconic use of color and space. The artist cleverly leaves blank spaces in the upper and lower parts of the canvas, creating a sense of openness that resonates with Eastern philosophy of "Virtuality and Reality". It's clear that since the late 1950s, Zao Wou-Ki has delved into the "Hurricane" Period, and after years of exploration, he has perfected his painting techniques, with his artworks more authentically mirroring his inner world.


巴黎的法蘭西畫廊自創建於1942年，便一直致力於法國推廣抽象藝術，除了趙無極，還曾代理漢斯·哈同，皮耶·蘇拉吉等知名法國抽象藝術家。本作《17.02.65》最早來源便是法蘭西畫廊，及後一直為歐洲畫廊及私人藏家所珍藏，蔚為市場上難得一見從未上拍之狂草時期作品。

趙無極於1957年首次展出於法蘭西畫廊，在畫廊總監米雅安・普雷沃的推波助瀾下，其藝術事業發展迅速，並在歐美各地展出不斷；本作曾於1968年出展於美國比佛利山莊，弗蘭克・珀爾斯畫廊〈趙無極〉個展，以及同年於三藩市美術博物館舉行的〈趙無極作品〉展，並著錄於圖錄。值得留意的是，三藩市美術博物館之作品展，乃藝術家首次於美國國家博物館舉辦之個展，見證趙無極以華人藝術家的身份在美國藝壇的里程碑式成就。

趙無極於1957年遠走美洲，期間親炙以「紐約畫派」為首的美式抽象表現主義；與此同時，趙無極與著名的紐約庫茲畫廊開始建立代理關係。透過庫茲，趙無極真正認識和領悟到了美國的抽象表現主義，畫風更趨豪邁奔放，來自「甲骨文時期」的古拙文字逐漸消融於抽象的狂草筆勢之中，彰顯藝術家的創作精神已漸入昇華狀態，本作即是創作於此高峰年代。

庫茲在1966年開始個人的業務轉型，宣佈停止畫廊的運作，趙無極也自此開啟了長達十五年未在紐約舉辦個展的歲月。《17.02.65》 記錄了趙無極在美國藝壇的巔峰時期，亦坐標了「狂草時期」畫風的成熟。

「狂草時期」作品以三段式構圖為經典常見，不僅意取中國山水畫的廣博盛景，形式之上亦呼應羅斯科的經典色域構圖，而藝術家巧妙地將畫面上下空間留白，營造出一個開闊的空間，呼應東方的「虛實」哲學，可見趙無極自五〇年代末開啟「狂草時期」，經過十數年的探索已對繪畫技巧的運用游刃有餘，畫作亦更忠實地反映出他的內心境界。