Siuling Wong, Artist in the United States from 1948 to 1989

Wong was aboard the ship President Cleveland when it departed Hong Kong on January 20, 1948. He arrived at San Francisco on February 9, 1948. His final destination was New York City.

Wong on line 10.

Stamford Mirror-Recorder (Connecticut), July 15, 1948

Cultural Development Program Is on International Lines
... Mrs. McLean’s house will be opened to the public on Sunday, July 18, presenting an exhibition of Contemporary Chinese Paintings. These and other future exhibits will be on view daily except Mondays, 10 a. m. to 5 p. m. until after Labor Day. The Chinese Exhibition includes 70 pieces and covers the work of 30 contemporary, representative artists. The paintings were brought to this country by Professors Ya-Chun Wang and Siuling Wong at the request of the Chinese Government. They will be shown at the Metropolitan Museum of Art next autumn. Dr. Wang and Mr. Wong have kindly consented to answer questions and to demonstrate the Chinese technique. ...

Stamford Mirror-Recorder, July 22, 1948

The Chinese Exhibit of Paintings
Again the palatial home of Mrs. Alice McLean at South Kortright is open to the public, and this time for a very notable exhibition of contemporary Chinese paintings.

This collection, the work of some thirty artists, has been brought to this country by representatives of the Chinese government: Professors Ya-Chun Wang and Siuling Wong, both well known artists in their own country. Dr. Wang was for many years president of the Hsin Hwa Normal School of Fine Arts. Prof Wong has been teaching at Columbia University in New York City and was formerly at the National Central University at Nanking.

The private opening of the exhibit was a most enjoyable social event, attended by the Chinese consul, his wife and young daughter, and friends of art from far and wide. There was music and refreshments and the stately walls of Riverside hung with beautiful tings on scrolls looked down on a scene of quiet gaiety. It is good to observe that the age long traditions of China are having a telling effect on the modern painters for the classic lines and soft notan of the Sung. Dynasty are found expressed in the traditional forms of rocks, mountains, clouds, and mists which date back to the early thirteenth century.

To describe one picture cata­logued as number five called “Land­ scape” by Huang Chun Pi: On an eight foot scroll of Chinese damask is the painting some fourteen inches wide by thirty-six inches high. Near the top in rough out­ line are distant hills and nearer by a tea house overelooklng [sic] the rocks. The foreground is done in magic strokes expressing a rocky gorge. In the center Is a water fall touched with gleaming sunlight. The water flows downward and melts away in a misty foreground whose silvery notan is expressed in vivid masses of wet ink.

There are several studies of a similar classic character while still others are of birds, animals, fish and varied forms of plant life. A group of modern water colors are of familiar places in and about New York City—the Brooklyn Bridge, the wharves, Central park, Columbus Circle; some garbed in the snows of winter. Several of these show the familiar skyline of the city. To recount the charm of the whole exhibit would require a vast book of words, so everyone is urged to go and see for himself.

There are seventy numbers in the exhibit by some thirty artists. They will be shown daily July 18th through September 6th, from 10 a.m. to 5 p.m.; closed Mondays. The Metropolitan Museum of Fine Arts will show this collection, augmented by the work of fifty more artists early in the fall.

Stamford Mirror-Recorder, July 29, 1948

Demonstrating Art of Painting at McLean Residence

Prof. Ya-Chun Wang, putting the finishing touches on
one of his productions; Prof. Siuling Wong, watching
operation; Neta Solomon, daughter of Dr. and Mrs.
Sydney Solomon of Stamford, an interested observer;
lady and gentleman, unidentified.

Left to right: Pasheng Yen, Chinese Consul General;
Prof. Ya-Chun Wang; Mrs. Alice McLean;
Prof. Siuling Wong.

Brooklyn Eagle, September 24, 1948

Dinner Plate Takes Editor ’Round Globe
The past couple of days we have been eating around the world, so to speak. On Tuesday we were among the guests at a press party at the new midtown Chinese Rathskeller at 125 W. 51st St., Manhattan, held in celebration not only of the opening but of the Chinese Eighth Moon (or harvest festival).

Although it comes earlier in the year than our Thanksgiving, it is a similar fete. Traditional foods are served as thanks offering for the harvest. The menu was planned as a symphony to prove the “harmony of taste, balancing of ingredients, blending of color, matching of aroma, consonance of texture and flexibility in arrangement.” Served in the beautifully appointed dining room, surrounded by murals of the distinguished Cantonese artist, Wong Suiling [sic], the food was exquisite. This was prepared in the Cantonese style, rated the best of Chinese cooking, and the type for which the Chinese Rathskeller is famous. Among the hosts were Chew and Robert Quan, proprietors, who, with their wives, headed the receiving line.

Mary Chu, who manages this midtown restaurant, helped receive and supervise the party. Distinguished, guests included Madame P. H. Chang, wife of the Consul General; Lt. Col. Lin Wen-K’Wei of the Chinese Military Delegation at the U. N., Chih Meng of the China Institute, to name but a few.

 

Art Digest, October 15, 1948

Skyline from Brooklyn, a watercolor executed in traditional Chinese technique by Professor Wong Siuling, has been presented to the Metropolitan Museum by Dr. P. H. Chang, Chinese Consul General in New York. A prominent Chinese painter, Professor Wong came to this country in 1938 and studied at the California School of Fine Arts and Columbia University. Last year he returned to China to serve as professor at the National Central University in Nanking. He is now in the United States again on an art mission from the Chinese government. A collection of contemporary Chinese paintings which he brought back with him are currently being shown at the Metropolitan Museum (see article on this page). Pictured above is Wong Siuling posed with the Metropolitan’s new gift, Oriental brush in hand over a very Occidental subject.

Metropolitan Shows Chinese Contemporaries

When one thinks of Chinese paintings, he is likely to visualize the grand traditional styles of the T’ang, Sung, Yuan and Ming dynaties [sic]—treasured works of later origin in American collections usually being copies of earlier masterpieces (although these copies themselves were produced by the leading masters of the day). The Metropolitan Museum now jumps nimbly over 300 years to present a large and inclusive exhibition of present-day Chinese painting, organized by the Chinese Research Society and the China Council for International Cultural Co-operation. Professors Wang Ya-chun and Wong Siuling, representing these sponsors, have worked in close co-operation with Alan Priest, the Met’s famed Curator of Far Eastern Art, and we are assured that the selection is a comprehensive one.

When I was in Japan, three years ago, a great deal of modern Nipponese painting was strongly French impressionist in flavor, and I went to the Met’s show expecting to see the same thing with a Chinese accent. In any case, I was surprised to find an exhibition entirely dominated by watercolors on the traditional vertical scrolls, depicting insects, birds and panoramic landscapes in the familiar outline and flat tone technique with the traditional Chinese taste and gentleness. Although certain Western methods of perspective have been adapted by a few of the Chinese painters, the landscapes as a rule still employ the well-known diagonal projection as a substitute. The vaunted Chinese calligraphy is still widely used, but by no means in as sure and economic a manner as executed by the old masters. Figure painting seems to interest the modern Chinese but slightly, and then in a traditional manner.

This is to express surprise but not disapproval, for in truth these modern works are decoratively beautiful and aesthetically stirring. By now, it should not be unexpected that despite wars, revolutions, invasions, starvation, pestilence and the black market, the Chinese just keep rollin’ along—after all, they have had two thousand years practice at it. As Alan Priest remarks in the catalogue, “It is either a proof of the strength of China or a last defiance of the world of science and machines. ... Look and marvel at the power of good over evil.”

Plans are underway for circulating this distinguished show in leading cities throughout the U.S., after closing at the Metropolitan on November 21.

Deseret News (Salt Lake City, Utah), October 31, 1948

Met Receives China Art
Skyline from Brooklyn, a watercolor executed in traditional Chinese technique by Prof. Wong Siuling, has been added to the Metropolitan Museum collection. Chinese Consul General in New York, Dr. P. H. Chang, made the presentation.

Professor Wong is a prominent Chinese painter who came to the United States in 1938 and studied at the California School of Fine Arts, and Columbia University. Last year he returned to China to serve as professor at the National Central University in Nanking.

He is now in the United States again on an art mission from the Chinese government. A collection of contemporary Chinese paintings which hr brought back with him are currently being shown at the Metropolitan.

Art Digest, May 1, 1949

Western–Oriental
An exhibition by Professor Wong Siuling, in the nature of a brief retrospective, will be attended on the opening day by President Eisenhower and Dr. Chang, the Chinese Consul General, when it opens at Columbia University on May 2. As a painter in the western manner with oriental overtones, Wong Siuling has won many honors, both in watercolor and oil. His work is familiar in part from previous reviews, although several large canvases were completed just in time for the present display.

Linda, a portrait of the artist’s wife, travelled with the La Tausca show. Lady with Red Scarf which won a California prize in 1941, And the Storm Passed, a National Arts Club prizewinner in 1945, are among the former; a double portrait Since He Went Away is his latest characterization-piece; and Dream of Autumn, an ambitious and well-modelled nude, is also recent. A sense of the city is very strong in the deft watercolors which include other themes as well. San Francisco’s Ferry Building, Winter, Columbus Circle and Queensboro Bridge are typically direct and freshly conceived. It is regrettable that the native, beautiful flair for fine brushwork, as exemplified in the quick, perceptive My Mother and again in several of the spontaneous washes, is so lost in the academic mannerisms adopted by far Eastern painters in their universal desire to be far Western also. (Until May 8.)

“Queensboro Bridge”, 1948

 

The 1950 census counted Wong (line 19) in New York at 100 West 57th Street. He and his wife had separated. Wong was a portrait artist and self-employed. 

 

American Artist, May 1950
 

Art Digest, December 15, 1950

Calendar of Current Exhibitions
Friedman (20E49) Dec.: Professor Wong Suiling [sic].

The Metropolitan Museum of Art Presents the 75th Anniversary Exhibition of Painting & Sculpture by 75 Artists Associated with the Art Students League of New York (1951)

Active Members
Siuling Wong

Art Digest, June 1, 1952

Art League of Long Island Spring Show, Flushing
Siuling, Wong, w. c. Bainbridge Award & blue ribbon

The New York Times, April 19, 1953

International Artist Group Exhibition and Sale advertisement

Dining Out in America’s Cities: The Modern Travelers’ Guide to Good Eating in America’s Principal Cities (1954)

Murals by the Cantonese artist Wong Suiling [sic] grace the modern decor of this excellent restaurant known also as the Midtown Chinese Rathskeller, since it is a branch of one on Chinatown’s Mott Street. …

New York Post, March 7, 1954

... Tuesday Openings—A gallery named for Confucius is added to the list. Wing Siuling, who is addressed as Professor, us bringing in a show of oils and watercolors. Lin Yu-tang is announced as guest of honor. The preview will be on Wednesday and the show will continue through April 4.

Cue, [?] 1954

Siuling Wong—Oils and watercolors. Confucius Gallery, 237 W 52. Thru Apr 2.

American Artist, [?] 1955

Siuling, Wong

Long Island Star-Journal (Long Island City, New York), May 7, 1956

 

Art Winners—Mrs. Fred Altvater of Beechhurst (left), president of
the Long Island Art League, presents checks to exhibit winners Wong
Siuling of Manhattan and Mrs. Charles Krebs of Great Neck.

 

Long Island Star-Journal, May 20, 1957

$100 Art Prize Goes to a Bayside Granny
27th annual spring exhibition of the Long Island Art League in Douglaston.

... Merchandise winners included ... Wong Siuling of Manhattan, ... for oil painting. ...

The Critic, February-March 1959

Art and Artists
A few minutes early for an appointment at the 57th Street, New York studio of Chinese artist Wong Suiling [sic], we came upon this busy man writing a poem. Our immediate request for a translation was deflected by his modest statement that he felt he could not express in English what he had thought in Chinese. However, the sheet of yellow paper containing the large black Chinese characters remained a tantalizing provocation to go back to the subject of the poem during the ensuing discussion of Mr. Wong’s paintings.

Several of these we had already seen at a watercolor demonstration given by Mr. Wong under the sponsorship of the Art Alliance of Women, at the O’Meara studios in Flushing, New York, where he also conducts a watercolor class. At that time, too, he had seemed reluctant to express his thoughts on the subject he was painting, a recently observed streetscene in Washington, D.C. But his single Chinese brush and a brilliant palette of golds reds, blue-greens, burnt umbers and blacks spoke for him in the vibrant language of changing autumn beauty. In the words of his friend, H. Liang Koo, art historian and lecturer on poetry at China Institute, who arrived at the studio while we were talking, “Wong’s first language is painting.”

At this our thoughts flew back to the poem we had seen Wong writing, and we unashamedly insisted on a translation. Mr. Koo transposed into moving and beautiful English the black Chinese symbols for rain and wind, a sad dream and a swaying jade willow, the poetic language of a self-styled inarticulate man.

Something of this poetic and mystical quality can be seen in Wong’s watercolor of the Grand Canyon, which he painted just as dawn was breaking, and of “Skyline from Brooklyn,” (in the permanent collection of the Metropolitan Museum of Art), painted after sunset. In the first, soft rose, muted yellows and greens contribute the atmospheric mistiness, while in the second, cool grays, warm rose and dark outlines give the effect of twilight haze. Although his subject matter and technique are in the western manner, there are overtones of the oriental spirit pervading each painting. This is more apparent in his watercolors than in his oils which have a tendency to be more somber in palette and theme.

In 1938 young Wong Suiling was a scholarship winner sent by his government to study art in America, where he chose the California School of Fine Arts and Columbia University. By 1948 he had had one-man shows at the San Francisco Museum of Art, Stanford University, Santa Cruz Art Club, Teachers College, Columbia University, Associated American Artists, New York, and group shows at the Metropolitan Museum of Art, American Watercolor Society and the National Arts Club and had taught for one year as assistant professor of Art at Columbia and at the National Central University in Nanking, China. Today Mr. Wong is a busy portrait artist, working in a metier he considers commercial in form, but which provides the means for his creative work in landscapes and murals. He is the only Chinese artist to have been elected to a fellowship at the International Institute of Arts and Letters.

Recreation, October 1962

People in the News
Four outstanding artists are adding dimension to the staff of the Westchester Workshop, where fine arts and home arts and crafts are taught. The workshop is sponsored by the Westchester County, New York, Department of Parks, Recreation, and Conservation. Siuling Wong, who is represented in the permanent collection of New York’s Metropolitan Museum of Art, will teach Chinese brush painting and watercolor, Eastern and Western schools. …

Scarsdale Inquirer (New York), October 25, 1962

One-Man Show to Feature Art of Wong Suiling [sic]

White Plains—A one-man show of oils and watercolors by Wong Suiling will be exhibited until November 10 at the Little Gallery of the Westchester Workshop in the County Center. The display is sponsored by the County Department of Parks, Recreation and Conservation.

Included in the exhibit are prize winning paintings from the National Arts Club of New York and the Long Island Art League.

The artist was educated in China and studied at the California School of Fine Arts and at Columbia University. He was recently elected a fellow in the International Institute of Arts and Letters.

Wong Suiling instructs a Chinese brush painting and a watercolor course at the Westchester Workshop.

New York World-Telegram and Sun, July 31, 1964

Your Daily World’s Fair Page
Schedule of Events
Tomorrow
Afternoon
2:00 Prof. Wong Suiling demonstrates technique of Chinese paintings, Republic of China Pavilion,

Wong became a naturalized citizen on November 9, 1964.

Citizen Register (Ossining, New York), February 24, 1965

Noted artist Siuling Wong will demonstrate Chinese brush painting at a lecture at the County Center, White Plains, March 2.

Siuling Wong Will Lecture on Chinese Art at Center
A demonstration and lecture on Chinese brush painting will be given without charge by Siuling Wong on Tuesday, at the Westchester County Center in White Plains. A morning program is scheduled from 10:30 to 11:30 and another from 1:30 to 2:30 p.m.

Mr. Wong, who was born in China but is now an American citizen, has been invited by the State Department to visit Japan, Formosa and Hong Kong next summer on the cultural exchange program. He will take with him an exhibit of some of the work o( his students from the Metropolitan area.

He teaches at the China Institute in New York, Riverside Church, was both a student and instructor at Columbia University and has taught at the Westchester Workshop in White Plains since 1962.

Mr. Wong held his first one-man show in Hong Kong when he was 25. This was followed by one-man shows in San Francisco and New York City. Both his oils and watercolors have won prizes in important shows.

A water color “Skyline from Brooklyn” was purchased by the Metropolitan Museum, New York City.

Following the demonstration visitors may enroll for his classes which are scheduled to start March 9 at the Westchester Workshop and continue for 12
sessions.

The Westchester Workshop is operated by the Westchester Department of Parks, Recreation and Conservation at the County Center. Additional information may be had by calling WH 9-1300, ext. 410.

Herald Statesman (Yonkers, New York), February 24, 1965

Exploring An Ancient Art

Noted artist Siuling Wong will demonstrate Chinese brush painting at a lecture at the County Center, White Plains, March 2.

A demonstration and lecture on Chinese brush painting will be given without charge by Siuling Wong on Tuesday, at the Westchester County Center in White Plains. A morning program is scheduled from 10:30 to 11:30 and another from 1:30 to 2:30 p.m.

Mr. Wong, who was born in China but is now an American citizen, has been invited by the State Department to visit Japan, Formosa and Hong Kong next summer on the cultural exchange program. He will take with him an exhibit of some of the work o( his students from the Metropolitan area.

He teaches at the China Institute in New York, Riverside Church, was both a student and instructor at Columbia University and has taught at the Westchester Workshop in White Plains since 1962.

Mr. Wong held his first one-man show in Hong Kong when he was 25. This was followed by one-man shows in San Francisco and New York City. Both his oils and watercolors have won prizes in important shows.

A water color “Skyline from Brooklyn” was purchased by the Metropolitan Museum, New York City.

Following the demonstration visitors may enroll for his classes which are scheduled to start March 9 at the Westchester Workshop and continue for 12
sessions.

The Westchester Workshop is operated by the Westchester Department of Parks, Recreation and Conservation at the County Center. Additional information may be had by calling WH 9-1300, ext. 410.

An exhibition of Wong’s paintings was held at Columbia University.

According to Wong’s Social Security application, he filed a claim for benefits on November 25, 1974. 

 

Wong passed away on February 22, 1989.
 

Wong was acknowledged in the 1978 book, Sumi-e a Meditation in Ink. Wong was mentioned in the 1996 UNESCO publication, Asia Pacific Arts Directory Volume 3: China, Hong Kong, Japan, Republic of Korea, Macao. An entry for Wong was in G.K. Hall Bibliographic Guide to East Asian Studies 2001. Asian American Art: A History, 1850–1970 (2008) included a paragraph about Wong. An endnote said “A large body of his works has been donated to museums in Hong Kong and Guangzhou.” 
 

In 1993 the Hong Kong Museum of Art exhibited Wong’s work. Twenty paintings were bequeathed to the museum.

A bilingual book was published by the Urban Council in 1994. 

 

In the book, two bridges were misidentified. The 1941 watercolor, on page 41, is not the Queensboro Bridge. The book erred when it said the painting was reproduced in Art Digest. The 1948 “Queensboro Bridge” watercolor, on page 47, was identified as the Brooklyn Bridge. (Bernice Abbott’s 1937 photographs, here and here, have similar views of the Queensboro Bridge with the Chrysler Building on the left and smokestack on the right.)

(Edan Hughes’ book, Artists in California, 1786–1940, identified the wrong person. Hughes said “Sui-Ling Wong” was born in California on May 20, 1884 and died in Monterey, California on January 2, 1968. Ancestry.com has the same birth and death information. However, the censuses recorded his occupations as Sacramento dry goods store proprietor (1920), Sacramento self-employed merchant (1930), San Francisco drugstore clerk (1940) and unemployed in San Francisco (1950). His obituary in The Californian, January 4, 1968, named his survivors and funeral service date. There was no mention of an art career.)

 

Related Posts
Siuling Wong, Artist in China and Hong Kong from 1909 to 1937
Siuling Wong, Artist in the United States and Hong Kong from 1938 to 1947

 

(Next post on Wednesday: One Effect of the Geary Act)

Siuling Wong, Artist in the United States and Hong Kong from 1938 to 1947

In 1938 Siuling Wong filed a travel application at the American Consulate General in Hong Kong.

 

“Siu-Ling Wong” (line 7) was aboard the ship President Coolidge when it departed Hong Kong on August 25, 1938. He arrived at San Francisco, California on September 12, 1938 and admitted the same day. His Chinese Exclusion Act case file number was 38510/008-07.

Wong studied at the California School of Fine Arts.

 

Wong has not been found in the 1940 United States census. On October 16, 1940 Wong signed his World War II draft card. His San Francisco address was 855 Kearny Street. He was described as five feet four inches, 130 pounds, with brown eyes and black hair.

San Francisco Art Association Bulletin, June 1939

California School of Fine Arts
List of Awards of Merit and Scholarships given at the close of the School year—May 19th, 1939.

Life Drawing: Frances Breitstein, Edward Corbett, Richard Hackett, Sturges Mower, Norma Taylor, Georgia Vail, Gregory Golubeff, Beverly Leslie, Florence Short, Louis Stewart, Walter Witt, Leo Holub, Leonard B. Horner, Elizabeth Jorgensen, Wayne Lammers, Isabel Parker, Frank Taira, Harold Taylor, Clayton Lewis, Siu Ling Wong.

San Francisco Art Association Bulletin, July 1940

Student Show at Art School
The California School of Fine Arts held its annual reception and preview of student work on the afternoon of May 17. ...

Awards of Merit
Life Drawing: Lee Blodgett, Edward Corbett, Walter Dale, Isabel Parker, Siu Ling Wong, Dan Bickel Jr., Hewitt Clark, Gregory Golubeff, James O’Hara, Mar- ...

Berkeley Daily Gazette (California), January 30, 1941

Santa Cruz Art League Awards Exhibit Prizes
The 12th State-Wide Area Exhibition to open Sunday, Feb. 2, in the Municipal Auditorium in Santa Cruz, sponsored by the Santa Cruz Art league, today announced prizes as follows:

... Second prize for oil, $30, was awarded Siuling Wong of San Francisco—for “Lady With Red Scarf.” ...

Oakland Tribune, February 2, 1941

Santa Cruz Annual to Open Today
Two art annuals of especial interest to Californians are approaching. The first is the Santa Cruz Art League’s 12th State-wide annual which will open today at the new Civic Auditorium, Center and Church Streets, Santa Cruz. The second is the Oakland Art Gallery’s annual exhibition of oils which will be held March 2–30.

… Other awards were as follows:
Second prize in oils, $30—“Lady With Red Scarf,” Siuling Wong, San Francisco. ...

Santa Cruz Evening News, February 3, 1941

Santa Cruz Art Exhibit
Santa Cruz Art League, 12th annual state art exhibit, in civic auditorium February 2 through February 10. Sponsored locally and attracting 201 exhibits from California.

... Second prize picture in oils is of a semi-nude by Siuling Wong of San Francisco, called “The Lady with Red Scarf.” His picture is ripe in color, yet subdued, with perfect tonal harmony and very much alive. ...

Santa Cruz Sentinel, February 6, 1941

Visitors Express Pleasure in Art League’s Exhibit at Civic Auditorium
Santa Cruz Art League mailed four checks yesterday to the artists who won cash prizes in the state-wide art exhibition, sponsored by the league, in the civic auditorium February 2–16.

… Siuling Wong, San Francisco, who received the second prize for oils ($30) entered “The Lady with the Red Scarf.” These prizes were offered by the Art League. ...

Oakland Tribune, February 9, 1941

Good Works at Santa Cruz Exhibition
... The second prize for oils ($30) was won by Siuling Wong, San Francisco, for a semi-nude, “The Lady With the Red Scarf.” It’s a good painting, probably with more black outlines than necessary, but that is a matter of opinion. ...

Art Digest, February 15, 1941

Santa Cruz Winners
The 12th State-Wide Exhibition sponsored by the Santa Cruz (Calif.) Art League constitutes a lively unveiling of art production in art conscious California (through Feb. 16). The exhibits, representing artists from many sections of the state, were selected by Thomas A. McGlynn, Mrs. Florence Earnist and Paul Whitman, who also named the show’s prize-winners.

Top prize in oil went to L. E. DeJoiner for his Fishermen’s Village, second prize to Siuling Wong for Lady with Red Scarf, and honorable mentions to Ann Wilson, R. Jerome Jones and Burr Singer. The watercolor prize was awarded to William C. Watts for Indians Fishing, second prize to Emil J. Kosa, Jr., with honorable mentions going to Karoly Fulop and Jade Fon. …

San Francisco Art Association Bulletin, March 1941

Current Exhibitions
… March 26, Watercolors by Wong Siuling. …

San Francisco Chronicle, March 29, 1941
Coming Events in S. F. For Today and Tomorrow

... Tomorrow
San Francisco Museum of Art—Paintings by Kay Saze, Kenneth Morrison, Wong Siuling, Fred Vidar and Arthur Murphy; small sculpture exhibit; water color exhibition by the San Francisco Art Association; 12 noon to 10 p.m.

Oakland Tribune, March 30, 1941

Three New Exhibitions at S.F. Museum of Art
Three exhibitions opened Tuesday for previews at the San Francisco Museum of Art. They were the fifth annual water-color exhibition of the San Francisco Art Association, the retrospective exhibition of painting by Kenneth M. Morrison and an exhibition of water-colors by Wong Siuling.  ...

... Wong Siuling, whose water-colors are being shown, is a young Chinese artist now studying in this country on a fellowship from the Chinese Government.

San Francisco Chronicle, March 30, 1941

... The last of the week’s openings at the San Francisco Museum is devoted to watercolors by Wong Siu Ling, a Chinese artist who has served in the armies of Chiang Kai-shek, and who was sent to San Francisco by the Chinese government apparently for the purpose of keeping him out of the way of the scrap iron and lead San Francisco has been shipping to Yokohama. His earlier pieces, painted before coming to this country, are rather small and rather messy, a little like the run-of-the-mill Oriental studies painted by European and American illustrators for expensive travel books. His later things, all painted here, are much more Chinese in feeling. They have the fluent and vigorous brushlike of Chinese calligraphy; they are spacious and brand; their line swoops and vibrates, and their color exploits fine, thin washes like those of the ancient Chinese tradition.

San Francisco Chronicle, May 8, 1941

Miss Linda Y.C. Wu and Wong Siu-Ling
“Look, these are hers”

A Story of New China
Art Plays Cupid’s Role in a Chinese Romance

Wong Siu-Ling saved his 14-year-old life by drawing pleasing pictures of his bandit-captors in China.

Today, at 31, he is safe in America, painting San Francisco scenes.

Wong was sent here by Generalissimo Chiang Kai-shek to study painting. Later Chiang wants him to return to China and paint a heroic mural glorifying the struggle of the Chinese people for freedom.

Yesterday he attended his own exhibition of oils and water colors at the headquarters of San Min Chu I—the Chinese Youth Organization founded by Chiang. It is at 819 Sacramento street.

He was excited about the exhibit—so many people had come to see his paintings.

“My name is Wong Siu-Ling,” he said. “But please call me Ling. My friends do. Wong is my family name. In China there are plenty Wongs—like Smith here.”

A slight, beautiful Chinese girl came in. “Please meet my fiancee, Miss Linda Y. C. Wu.” Miss Wu smiled shyly.

“Look,” Wong said. “These are hers.” He pointed to three sculptured heads. “I read in the paper that I was having a one-man show here. I’m not. These are hers.”

“This is Ling,” Miss Wu pointed to the almost completed head she is doing of her fiance.

They told all about it—how they met in China, how he was sent here and she followed.

Wong boasted about Miss Wu. “She only started sculpturing this year,” he said. “We visited Raymond Puchinelli’s studio—he’s a sculptor, too, and she picked up a little piece of clay. Never before had she worked with it. Very quickly she molded a little duck. Puchinelli thought it was wonderful—he still has it. When Linda learns English a little better, she will have a scholarship with him at Mills College.”

In China Wong often painted with Miss Wu’s distinguished father, Wu Cho-bun, foremost Chinese painter of Mongolian tigers.

“When Miss Wu was just a little girl (now she’s 20), her father entrusted her to my care,” Wong said.

Two years ago he had to leave to come to America. He had been painting murals in Shanghai and Hongkong. He had won many first prizes for his water colors at the Hong Kong Art Club. “But when I left,” Wong wrinned [sic] and Miss Wu became even more shy looking. “She came too.”

Both are students at the California School of Fine Arts, where Miss Wu is studying under Ralph Stackpole.

Wong holds a commission of Captain in the army of Chiang Kai-shek. When the bandits raided his school in the Toishan district and carried off Wong and his schoolmates, they treated him well as a reward for his drawings of them.

Soon Wong will exhibit his paintings at the Palace of the Legion of Honor and at Stanford University.

The current exhibit [is] at 819 Sacramento street and will remain open until Sunday evening.

San Francisco Chronicle, May 9, 1941

It’s News to Me by Herb Caen
Add artistic temperament: Incidentally, there was a little behind-the-scenes controversy just before the Rice Bowl Festival started. Some of Chinatown’s great artists, like Don Kingman and Wong Siuling, formed an art section to exhibit their works during the celebration. The festival directors placed them under the committee on decorations. To the artists, this was the prime insult. “Our works,” they said, “are creative—not decorative.” So the art section was transferred to another group, to everyone’s satisfaction. The artists were placed under—the committee on entertainment.

Lodi News-Sentinel, (California), May 17, 1941

Lion Dance at Rice Bowl
Ceremonial dances are traditionally part of all important celebrations in China and among the most popular is the lion dance, to be featured at the Rice Bowl party in Stockton Chinatown today and tonight, May 17. ...

... Of a different nature will be the attraction at the House of Wong, 131 East Washington street. There a Chinese art collection will be exhibited by Chan Yum Bei, prominent San Francisco artist. Both he and Wong Siu Ling, another San Franciscan, will exhibit their own work for sale.

Art Digest, June 1, 1941

Right Church, Wong Pew
There was a little behind-the-scenes controversy brewing in San Francisco just before the opening of the recent Rice Bowl Festival, all of which Herb Cain duly reports in the Chronicle. It seems that some of Chinatown’s leading artists, “like Dong Kingman and Wong Siuling, formed an art section to exhibit their works during the celebration. The festival directors placed them under the committee on decorations. To the artists this was the prime insult.

“ ‘Our works,’ they said, ‘are creative, not decorative.’ So the art section was transferred to another group, to everyone’s satisfaction. The artists were placed under—the committee on entertainment.”

Sixty-First Annual Exhibition: Oil, Tempera on Panel, and Sculpture
San Francisco Art Association, September 11 to October 5, 1941
San Francisco Museum of Art

Siuling, Wong   San Francisco
235. Girl and Gown (oil)

Wong moved to New York for further studies at the Art Students League. A letter dated September 16, 1941, from the California School of Fine Arts, confirmed his departure.

 

The New York Times, October 26, 1941

War Nations’ Art Display Lauds Women
In a dramatic setting recognizing the part women in England, China and Russia are taking in the defense of their countries, the Women’s National Exposition of Arts and Industries will open tomorrow for one week at Grand Central Palace. Here the handicrafts of countries that have fought against Hitler and those still fighting will receive honorary haven. And these arts, along with time-tested and modern crafts of own country, will be highlighted in a promotion of occupational therapy for every one, in keeping with the slogan of the exposition, “Steady Hands Make Steady Nerves.” ...

China Shows Hand Looms

Large panels flanking the entrance within the palace, painted by Wong Siu-ling and Miss Gertrude Hermes, bring into prominence the women working in industrial cooperatives of China and the multiple achievements of British women aiding the war effort.

“In free China,” Mme. Lin Yutang, one of the sponsors of that exhibit, explained, “utilizing the ancient methods of production is a purely practical idea. It is difficult to get machinery now. Furthermore, it helps solve the problem of living for the 50,000,000 refugees who have moved into the interior from the coast. In the caves housing many of the cooperatives, women and men are using the old hand looms, spinning and weaving textiles for blankets and uniforms for the soldiers.” ...

New York Post, October 27, 1941

Chinese and British Join in Show.
To emphasize the close unity of China and Great Britain in the present world crisis, China and the British Commonwealth are sharing the most important exhibit space at the 18th Annual Women’s National Exposition of Arts and Industries in Grand Central Palace from today through Saturday. The exhibits are spectacular.

As visitors enter the vast exhibit hall they face two large booths at the head of the stairs, identical in size and design, highlighted by two great signs similarly lettered, “Women of China” and “Women of Britain.” At the right is the exhibit sponsored by United China Relief and at the left that of the British Commonwealth.

In the Chinese exhibit six specially-built panels, hand-drawn and illustrated by Wong Siuling, famous Chinese artist who exhibited recently at the San Francisco Museum of Art, show Chinese women at work, engaged not only in the new vest-pocket industries developed since the war began, but at their usual peace-time occupations.

Across the aisle, British women at work are shown by McKnight Kauffer, top poster artist in Britain who had a recent show at the Museum of Modern Art. Flanking these panels at the right are the Chinese lion, symbol of Republican China, and at the left the British lion.

The interior of the Chinese exhibit is filled with beautiful Chinese objets d’art for sale for the benefit of United China Relief. Chinese girls in native costume sell rare Chinese teas and other merchandise. Some of the notable objets in the collection are jewels collected by Madame Chiang Kai-shek from her friends in China and sent to this country in the care of Mrs. Lin Yutang, wife of the author-philosopher and chairman of the Chinese Women’s Relief Association. These jewels, including many rare and fine jades, are being sold to aid Madame Chiang’s war orphans.

Brooklyn Eagle (New York), October 28, 1941

Exposition Shows That Women Still Work for More Gracious, Peaceful Living

... In the Chinese exhibit six specially-built panels, hand drawn and illustrated by Wong Sio-Ling, famous Chinese artist who exhibited recent at the San Francisco Museum of Art, shows Chinese women at work, engaged not only in the new vest-pocket industries developed since the war began but at their usual peacetime occupations. ...

Wong wrote a letter, dated November 12, 1941, to the Immigration and Naturalization Service.

The Art Students League letter, dated November 12, 1941, confirmed Wong’s attendance.

 

“Skyline from Brooklyn”, 1941

 

Art Digest, November 15, 1941

Oakland Prizes
Prizewinners in the 9th annual Oakland Art Gallery watercolor and print exhibition, reported in the Digest’s last issue, have been announced. Top award went to Francis Todhunter for his Sunday Afternoon, second to Alexander Nepote for his East 8th Street and third to James A. Holden for his Nora.

Honorable mention winners were Tom Craig, Karoly Fulop, George Hamilton, Louis J. Hughes, Karl Kaston, Emil J. Kosa, Jr., Barse Miller and Siu-Ling Wong.

San Francisco Art Association Bulletin, January 1942

New Art Association Members not previously listed in the Bulletin include:

... Associate Artist: Felicia Altman, Marcia Bohr, Anne Porter Burmister, William G. de Classon, Leona Garibaldi, Dorothy Grover, Doris Hansen, June Foster Hass, Waldemar Johansen, Friedolin Kessler, William Kingwell, Minnie S. Lilley, Josephine Robbins, Wong Siu-Ling.

The New York Times, February 20, 1942

Chinese Officials Rent Apartments
Ping-Heng Li Is New Tenant in 285 Riverside Drive, Wong Siuling in West 57th St.
A Chinese delegate to the International Labor Conference and former representative of China at the International Labor Office in Geneva, Ping-Heng Li, has taken residential quarters consisting of seven rooms and three baths in the apartment house at 285 Riverside Drive in a lease arranged by the Apartment Renting Company, Inc., brokers.

Wong Siuling, a compatriot of the official, has taken a suite in 100 West Fifty-seventh Street through Walter & Samuels, Inc., ...

Magazine of Art, April 1942

April–May Exhibitions
Associated American Artists, 711 5th Ave.: Thomas Hart Benton; to Apr. 25, Paul Burlin; Apr. 15–May 4. Wong Siuling; May 6–21.

Art Digest, April 15, 1942 (repeated May 1, 1942; June 1, 1942; and July 1, 1942)

San Francisco Art Association Bulletin, April-May 1942

Wong Suiling [sic] held an exhibition of paintings in the galleries of the Associated American Artists, New York.

Magazine of Art, May 1942

May–June Exhibitions
Associated American Artists, 711 5th Ave.: Wong Siuling; to May 21. Sherman Raveson; May 25–June 10.

The Art News, May 1–14, 1942

New York City
Assoc. American, 711 Fifth
Paul Burlin, to May 11
Wong Siuling, May 6–21

The New York Times, May 3, 1942

Wong Siuling—Paintings by a young Chinese. Associated American Artists Galleries. (May 8–23.)

New York Sun, May 8, 1942

Relief Shows Dominate Week
The fact that China and her attempts to adapt herself to the Western order of things are very much in the public eye just now gives a certain added interest to the paintings that Wong Siuling is now showing at the galleries of the Associated American Artists in his first New York display. For the name of the artist seems the only Oriental thing about them. Yet we are told that he was a captain in the army of Generalissimo Chiang Kai-shek as far back as 1932 (he is but 31 now) and three years ago was sent to this country by his Government to absorb Western culture. Since his arrival he has studied at the Art Institute in San Francisco and at the Art Students League here. He has made so thorough a job of it that, for all his present paintings show, he might have been born in Pell street or the Chinese Quarter in San Francisco. Although purely Western in approach and handling, the inherited aptitude of his race for the medium may have aided him in his water colors, for they seem on the whole more accomplished than his oils. The former, which include a number of New York scenes, seem as American as John Whorf or Ogden Pleisner. His several portraits in oils, though naturally more sedately handled, display no alien influence, though all but one are devoted to Chinese subjects.

Part of the proceeds from the exhibition are to go to the United China Relief Fund.

The New York Times, May 8, 1942

News and Art Notes
An exhibition of oils and watercolors by Wong Siuling, Chinese artist, opened yesterday afternoon with a reception and preview at the galleries of the Associated American Artists, 711 Fifth Avenue. The artist, who is only 31 years old, fought in the army of Generalissimo Chiang Kai-shek in the defense of Shanghai, taught in the University of Kwangsi until it was bombed and forced to move inland, and, before coming to the United States, worked in the publicity department of the Central Chinese Government.

While here on a scholarship from the Chinese Government he is painting American scenes, hoping that his pictures, on his return to his native land, will help to better acquaint his people with this country. A part of the proceeds from the sales of paintings in the present show will be devoted to United China Relief.

The exhibition, which will open to the public today, will continue through May 23.

The New York Times, May 10, 1942

West by East
At Associated American Artists Galleries a Chinese painter, Wong Siuling, brings forward a large group of water-colors and several oils. All of this work is highly accomplished and all of it is, so far as I can see, entirely occidental, both in approach and in technique. The oils are strong and the water-colors very fluent and expert. Part of the proceeds from sales will go to the United China Relief.

Springfield Sunday Union and Republican (Massachusetts), May 10, 1942

According to the gallery’s press release, Mr. Wong “is the first artist of modern China to be sent to America instead of Europe as the seat of western art culture.” Studying in this country on a scholarship from the Chinese government, he has spent three years here. In this time, he has studied in California and at the Art Students league in New York and exhibited his work in San Francisco. In the current exhibition, on view till the 24th, it is interesting to compare the small water colors painted in China and larger water colors and oils painted in this country.

Mr. Wong started with the inheritance of a style which is transitional, representing the adaptation of the highly formal convention of the great periods of Chinese painting to the mood and needs of the modern world. Since the East and the West had ceased to be two separate zones of influence, the impact of Europe may be seen already in the water colors of Chinese subjects painted in China.

Though information is lacking as to what influences he came under in the United States, the general tradition is clear in his work: a modified impressionism has affected him, so that the water colors of American subjects are looser and freer and bigger (at least in size). At first glance, one might question whether the influence of the western world on the Chinese painter had been toward disintegration. And as far as technic goes, certainly he seems to have borrowed from the school of George Grosz.

However, there is a strong calligraphic quality in Mr. Wong’s water colors which holds them together. There are powerful linear movements of objects and forms, such as the piles in the scenes along the New York waterfront. He is actually drawing with a brush, adding to his native tradition color but otherwise putting the masterly convention of eastern calligraphy to work.

Add to this the artist’s keen interest in subject matter of the word about him, and we have a pretty good combination. The moral, perhaps, is: If China, a less industrially advanced country that our own, can find energy even in wartime to support culture, why cannot we?

A further word. Part of the proceeds of sales from the exhibition are being given to United China Relief.

In Wong Siuling’s One-Man Show

Exhibition at the Associated American Artists galleries, 711 Fifth
avenue, New York (through May 23). Upper: “Hong Kong Harbor,
1936” (left) and “Chinese Grandmother.” Lower: “Skyline for
Brooklyn,” painted as part of the artist’s record of America.

Art Digest, May 15, 1942

Wong Siuling Sketching America

Wong Siuling of China Exhibits in New York
Wong Siuling, 31-year-old Chinese painter, who fought as a captain in the army of Chiang Kai-shek during the seige [sic] of Shanghai, is holding his first American show at the Associated American Artists, New York (until May 23). Bombed out of his own University by the Japs, young Wong was sent to America on a scholarship from his Government and spent three years studying in San Francisco and the Art Students League in New York.

Except for the name, Wong’s fluent watercolors could have been painted by America’s own John Whorf, since there is little Oriental about these lively impressions of San Francisco, New York and their respective Chinatowns. Working in the best watercolor tradition, this young Chinese artist gives a comprehensive cross-section of big city life in America, with perhaps a touch of the intuitive observation of the East and a highly artistic sense of arrangement and color. Emphasis is not so much on brilliancy but on subtle atmospheric effects.

Considerable movement is felt in Columbus Circle, Mott Street—Chinatown and Market Street—San Francisco. In a different vein and treated in a simpler, perhaps more original manner, are the unusually patterned Dirt Road and The Old Wharf. Along with the American impressions is a series of studies of Kweilin, China. A few oils are also included, but these seem to have less freedom than the watercolors.

House & Garden, July 1942

Wong’s painting of Miss Wu Yee-Chau is in the background.

In September 1942, Wong filed an application to extend his stay in the United States.

Wong continued his studies at the National Academy of Design.

In a letter to an immigration official, Wong explained his situation.

Wong replied to the immigration official’s advice.

Art Digest, March 1, 1943

Nanking Artist Exhibits at Columbia
Siuling Wong, Chinese artist now occidentalized, will show his oils and watercolors at Columbia University’s Teachers College through March 6. Mr. Wong left Kwangsi and Nanking in 1938 to come to America. He attended four leading art schools in this country in quick succession. Result was, oriental qualities in his work were replaced by an American formula for acceptable painting in oil and watercolor. Reproduced herewith is his oil painting Lady with Red Scarf and the artist and Miss Wu Yee-Chau, student of sculpture at the National Academy school of art, are shown with the painting. Incidentally, we have learned that Wong has wooed and won Miss Wu.

The Art News, March 1–14, 1943

New York City
Teachers Coll., Columbia Univ.
Wong Siuling, to Mar. 6

Brooklyn Eagle, February 27, 1944

At the Art Galleries
American Watercolor Society Launches Its 77th Annual

... The closest approach we have ever seen to the inspirational art of Samuel Halpert is that of Wong Siuling in “San Francisco Ferry Building.” The intricate bridge and public buildings have been translated into an art of elimination by means of emphasizing only the essentials. It was not so long ago that this type of work was referred to as an unfinished sketch. ...

Wong filed for another extension.

After filing the extension, Wong and his wife were question by an immigration inspector.

Columbia University Student Directory Number for the Sessions 1944–1945

Wong, Siuling e 100 W 57 St
Wu, Yee-Chau e 100 W 57 St

 The New York Times, May 2, 1945

Prizes to Be Given to Junior Artists
Young Painters and Sculptors to Get Awards at National Arts Club This Evening
The annual exhibition of work by junior members of the National Arts Club will begin with a preview this evening in the club’s gallery, 15 Gramercy Park. It opens to the public tomorrow and will remain through this month.

The jury of award has completed its task of judging, and prizes will be distributed at tonight’s preview as follows: In the oil division, first prize of $25 to Wong Siuling, for her [sic] portrait entitled “And the Storm Passed”; ...

The water-color prize of $10 goes to Hode Frankl, for “Land,” Wong Siuling to receive an honorable mention for “Campus Snow.” Linda Wu is to get the $10 sculpture prize, for a piece called “‘Supplication.” ...

Art Digest, May 15, 1945

The Versatile Wongs
Wong Siuling and his wife Linda Wu may congratulate themselves upon something of a cultural triumph in connection with the current annual exhibition of painting and sculpture by junior members of the National Arts Club. Mr. Wong was not only awarded first prize in the oil division for his portrait titled And the Storm Passed, but earned an honorable mention for his watercolor as well, while his wife’s head, Supplication merited a prize in the sculpture division.

Members of the jury of award responsible for this signal honor to the Wong family were: Alphaeus Cole, Van Deering Perrine, and Walter Biggs, for painting, with George Lober judging the sculpture.

Biographically speaking, Mr. Wong fought as a Captain in the Army of Chiang Kai-shek during the seige [sic] of Shanghai. Bombed out of his own University by the Japs, the artist was sent to America on a scholarship from his Government and spent three years studying in San Francisco and the Art Students League in New York. It was during his stay in New York that he met his wife, who was at that time studying sculpture at the National Academy School of Art. ...

Wong filed another extension.

The New York Times, December 5, 1945

The Chinese Consul General, Dr. Tsune-Chi Yu and Dr. Lin Yutang, Chinese writer and philosopher, Will attend along with invited guests the preview this afternoon of an exhibition of oils and watercolors by Capt. Wong Siuling at Columbia University’s art gallery in University Hall. The exhibition will open to the public beginning tomorrow and may be seen from 9 A.M. to 5 P.M. daily, except Sundays. Captain Wong will soon return to China, where he will direct art projects for the Chiang Kai-shek government.

The New York Times, December 6, 1945

Chinese Artist Opens Show
The first New York one-man exhibition of pictures by Wong Siuling, Chinese artist, was held yesterday in the university art gallery of Columbia University. Almost equally divided between oils and watercolors, his pictures included a number of Columbia scenes. The exhibition will be open daily except Sundays, from 9 A.M. to 5 P.M. At present teaching in the university, the artist plans to return to China next year to do a series of murals for the Chiang Kai-shek government.

Art Digest, December 15, 1945

Wong Siuling—From China to Columbia
Wong Siuling is holding his second exhibition of oils and watercolors in the Art Gallery of Columbia University, where it was opened by the Chinese Consul General, Dr. Tsune-Chi Yu, on December 5. One would never guess from looking at his work that this young Chinese artist had been a captain in the army of Chiang Kai-shek during the siege of Shanghai, and was once bombed out of his own University by the Japs when that war was still referred to as The China Incident. His work is fluently Occidental now, and shows little trace of Oriental style.

The current exhibition includes a number of scenes around Columbia University where the artist is teaching now, including a well composed Campus Twilight. Other pictures noted are an outdoor portrait of Mrs. W. L. Bailey, and a watercolor impression of Park Row.

“Campus Twilight”, 1945

 

The New York Times, April 1, 1946

Openings Today at Art Galleries
... Paintings by the Chinese artist Wong Siuling are on view at the Friedman Gallery, 20 East Forty-ninth Street. ...

The New York Times, April 14, 1946

Stress on the Exotic
... A modern Chinese artist, Wong Siuling, is showing oils and watercolors, somewhat oriental in spirit and occidental in execution, at the Friedman Gallery, 20 East Forty-ninth Street. Especially successful are his misty river scenes of China

New Orleans States (Louisiana), September 24, 1946

Chinese Artist, Seeking Local Color, Paints in Rain
New Orleans’ French Quarter and business center were captured in quick water color brush strokes by an outstanding Chinese painter, Wong Siuling, upon his arrival here for a visit.

Wong, former Chinese army captain under General Chiang Kai-Shek and native of Canton, teaches painting at Columbia university and on his arrival here did paintings of the city in the rain. Columbia university is sending him over the country to capture its varied beauty.

“I placed my stool under a canopy on Canal Street or staid under the building of the Terminal railway station to paint in the rain, but today with the sun I hope to capture more of the color and warmth of the Vieux Carre.” Explained the 38-year-old artist.

Wong and his wife, Linda Wu Wong, a sculptress, have won prizers over the country. Her portrait head of herself and his painting of her attracted art critic attention last April at the showing at the National Art Club in New York.

At the age of 14, Wong was kidnapped by Chinese bandits, was ransomed for $5000 and made a sketch of his captors that led authorities to their hide-out.

Wong’s work may be exhibited in New Orleans shortly. He does not sketch his scenes before painting them but uses the meticulous, exact strokes of the traditional Chinese without changing his painting after he has begun.

His portraits are done with a study of the inner character or drama of his sitter with an appropriate background painted to interpret this.

Wong applied for an extension.

New Orleans Item (Louisiana), September 25, 1946

Chinese Painter Pictures Quarter
Wong Siuling, former Chinese Army captain and now an art instructor at Columbia University, Tuesday visited New Orleans and set up his easel to paint some French Quarter scenes in the rain.

The artist, now on an [sic] nation-wide tour sponsored by the university, has taken many prizes with his work. His painting of his wife attracted wide-spread attention last April at the National Art Club in New York.

Times-Picayune (New Orleans, Louisiana), September 25, 1946

Wet New Orleans Is Being Painted
The first act of Chinese Painter Wong Siuling upon his arrival in New Orleans Tuesday was to set up his easel and put on canvas scenes of Canal street and the French Quarter in the rain.

The visitor, a former Chinese army captain and now art instructor at Columbia university, voiced belief that with the sun he could capture more of the warmth and color of the city.

He does his painting in bold, vivid free-hand, without preliminary sketching, and explained that his portrait painting emphasizes the inner characteristics of his subject, with interpretative background.

The artist, now on a nationwide tour sponsored by the university, has captured numerous prizes with his work. His painting of his wife, a sculptress attracted wide-spread attention last April at the National Art Club in New York.

Report of the Acting President of Columbia University for 1946

Paintings by Siuling Wong

In 1947, an exhibition of Wong’s paintings was held in Hong Kong.

Hongkong Telegraph, October 25, 1947

Hongkong Telegraph, November 1, 1947

Mr. Wong Siu-ling, the artist, showing Lady Grantham his pictures
at a preview of his one-man show at the Hongkong Hotel on Monday.

Hong Kong Sunday Herald, November 9, 1947 

Lady Grantham attended the preview of Mr. Wong Siu-ling’s
art exhibition on October 27th. Picture shows Lady Grantham
with Mrs. Oliver (left) and Mr. Wong Siuling (right). Mrs. T.
W. Kwok is also in the picture.

Wong prepared for his return to the United States.

(Edan Hughes’ book, Artists in California, 1786–1940, identified the wrong person. Hughes said “Sui-Ling Wong” was born in California on May 20, 1884 and died in Monterey, California on January 2, 1968. Ancestry.com has the same birth and death information. However, the censuses recorded his occupations as Sacramento dry goods store proprietor (1920), Sacramento self-employed merchant (1930), San Francisco drugstore clerk (1940) and unemployed in San Francisco (1950). His obituary in The Californian, January 4, 1968, named his survivors and funeral service date. There was no mention of an art career.)

 

 

Related Posts
Siuling Wong, Artist in China and Hong Kong from 1909 to 1937
Siuling Wong, Artist in the United States from 1948 to 1989

 

(Next post on Wednesday: Siuling Wong, Artist in the United States from 1948 to 1989)