In 1957, Lalan left Zao Wou-Ki whom she was married to since 14 years old, and that was when her artistic career slowly unfolded. She established herself as an independent and persistent female artist. Unlike Chinese women of the same generation, Lalan is strong and independent. After arriving in Paris in 1948, she lived in France for nearly half a century and embarked on an artistic journey that lasted more than 20 years. Lalan successfully incorporated painting, dance and music to realize her unique creative style of "integrated art". From calligraphic lines in her early works, to landscapes and pure abstract works as she progressed across her artistic career until she reached in her late artistic period; Lalan established firmly her status as a female artist in the flourishing art scene in France, in an art world dominated by male artists back in the days.

Electronic music has always been the core inspiration in Lalan’s oeuvre. Lalan met Edgar Varèse back in 1954, whom many refer to as the “Father of Electronic Music”. Lalan got her key inspirations in art and life from Varèse, and became more truthful to her artistic creation in later stages. The two Untitled paintings demonstrate the artist's musical inspiration throughout her artistic career: the strong hues of the visual, combined with brushstrokes that conveys a strong sense of figurative representation - are signature features of Lalan’s early creations. At this t.mes , she never made a draft when painting, and her forthright emotional reflection was fully injected into the painting, showing the freedom and unrestrainedness of her personality.

Both Untitled were created between 1958 and 1960, witnessing Lalan’s attempts to explore different artistic fields. Drawing on the strengths of each, Lalan formed her unique and experimental creative language. Lalan used gouache to paint at first, and in the two years starting from 1957, she boldly chose the color black, and blended with others to show the calligraphic and ink-spired style in her works, which are demonstrated by the two Untitled being presented this t.mes . Both works echo with each other through the cold and warm tone that makes each of them stand out on their own, the interweaving of colors and brushstrokes stand as the artist's honest confession of both strength and softness.

According to Lalan Archives, these two Untitled are the only two works which were created and presented as a pair intentionally by the artist. Both works were completed in 1960. At this t.mes , Lalan held her first solo oil painting exhibition at the Creuze Gallery in Paris, which quickly attracted the attention of the French art world. This pair of works stands as an important historical reference to the artist’s career as it was created during the period when Lalan became internationally recognized. Both works were exhibited in Lalan-Van Thienen, the Lavandou collects ion in 2010. In addition to the exhibition catalog, this pair of works is also included in the monograph Lalan, co-published by Rizzoli International Publications Inc. and Kwai Fung Art Publishing House. The academic and collects ion value of this work is fully testified.

1957年，謝景蘭離開14歲已然一起的丈夫趙無極後，其藝術生命才徐徐展開，一個獨立持行的女性藝術家悄然而立。與同年代的中國女性不同，謝景蘭堅強而獨立，自1948年抵埗巴黎後，便居住法國接近半個世紀，開展長達二十多年的藝術之路。謝景蘭成功融合繪畫、舞蹈及音樂，實現其獨特的「綜合藝術」創作風格，由早期的書法線條、到中期的山水風景，再到後期顛峰時期的純抽象作品，在巴黎男性藝術家主導的世界中，創作出一道又一道獨特的風景。

早於1954年，謝景蘭認識有「電子音樂之父」之稱的法裔美籍音樂家埃德加．瓦雷茲（Edgar Varèse）, 謝景蘭從瓦雷茲身上得到了關鍵的藝術與人生啟迪，瓦雷茲對於聲音在空間內的伸展與平衡，以及音樂如何在空間裡探索呈現的結構與形狀；此音樂與形相之間的研究與探索，為謝景蘭帶來無限創作上的啟發，本拍品的兩幅《無題》，即展現藝術家貫徹藝術生涯的音樂靈感：畫面濃烈的色調，配合時而暢快激動、時而滯厚凝重的筆觸，成就謝景蘭早期創作的標誌性特色，此時，她作畫從不起草稿，其直率的情感反射全然注入畫面，展現初生之犢的自由奔放。

兩幅《無題》創作於1958至1960年，見證謝景蘭嘗試探索不同藝術領域並取各路之長，結合成為其獨有的創作語言之階段，富有實驗性。綜觀謝景蘭的創作歷程，起初她較常使用水粉彩作畫，而且在1957年開始的兩年間，她運用奪目的黑色，與其他的色彩交織融合；兩幅作品呈現藝術家早期創作獨有的書寫性及東方墨意，一冷一暖的基調，以及色彩與筆觸動靜交織，猶如藝術家剛柔並濟的坦然自白。

根據謝景蘭藝術文獻庫，此乃謝景蘭唯一特意成對創作的作品兩幅。兩作均完成於1960年，此時，謝景蘭在巴黎Creuze畫廊舉行生平首次油畫個展，由此迅速獲法國藝術界的關注，這組作品即誕生於謝景蘭藝術事業備受國際肯定之時，別具歷史意義。兩幅《無題》均在2010年曾出展於法國勒拉旺杜文化中心舉行的「謝景蘭—范甸南，勒拉旺杜作品集」展覽，除展覽晝冊外，本作亦收錄於米蘭Rizzoli國際出版社與季豐美術出版社合作的專論書《謝景蘭》，足證本作學術及收藏價值。