Zao Wou-Ki

The Night Is Stirring (Anger) (La Nuit remue [colère])

1956

Dating
Exact year
Held at
Art Institute of Chicago
Medium
Oil on linen
Dimensions
195 × 130.5 cm (76 3/4 × 51 3/8 in.)
Collection no.
1962.904
Attribution
By the artist

Collection: Art Institute of Chicago

About this artwork

The Night Is Stirring (Anger) (La Nuit remue [colère]) — Zao Wou-Ki. 1956.

Medium: Oil on linen. Dimensions: 195 × 130.5 cm (76 3/4 × 51 3/8 in.).

Collection record: Art Institute of Chicago, Chicago. Museum connection according to this source; current display unverified.

Born in Beijing, Zao Wou-ki moved to Paris in 1948. He had studied at China’s most progressive art academy, training in both Western oil painting and Chinese ink painting and calligraphy. Despite his education, Zao’s arrival in the cosmopolitan French capital prompted for him a more tangible, as well as conceptual, reckoning with Eastern and Western aesthetics. However, it was not until he traveled to the United States, where he viewed Abstract Expressionist paintings for the first time, did the artist embrace exclusively the atmospheric abstraction for which he became known. After returning to Paris, Zao began to create sweeping, large-scale compositions and swiftly rose to prominence among a circle of fellow Paris-based abstract painters interested in lyrical and intuitive mark making, including American Joan Mitchell and German-born Hans Hartung. In The Night Is Stirring (Anger) (La Nuit remue [colère]) , Zao built up layers of jewel-toned color, activated by touches of lurid red and a torquing column that seems to climb up the center of the canvas. While his dark, inky brushstrokes call to mind Chinese calligraphy, still more traditional Chinese painting is reflected through Zao’s manipulation of the tropes of the landscape format, which emphasizes the rhythms and energies of nature more than a strictly realistic approach. Suspended between the conventions of Chinese landscape painting and the materiality of Western oil painting, Zao’s canvas occupies other in-between states as well; it is, for example, an abstract work that suggests not only landscape in general but nightfall more specifically. Zhang borrowed the title from a book of poems by writer and painter Henri Michaux, a close friend and mentor.

Description: © Art Institute of Chicago, original record, CC BY 4.0. HTML formatting removed; wording retained. Other artwork metadata: CC0.

Source: official collection record. Metadata selected and normalized by Artline from the source export, accessed 10 September 2026; no museum endorsement. Reproduction rights are separate.

Location checked Sep 10, 2026. This does not indicate whether the work is on display.

Artwork sources