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Robert Huang’s Chronology


R O B E R T   H U A N G

Teng-Hui Huang, a.k.a. Robert Huang as signed for his canvases, born in 1959 in Hualien, Taiwan, is a highly esteemed artist and an entrepreneur in a tea business with more than 50 branches in Taipei, Shanghai, New York and other major cities worldwide, all bearing a renowned brand name-Rose House.

Huang studied at Tung Hai University, Taichung City, Taiwan, where he earned his BA in International Business in 1982. During his college years, he also took a couple of courses in architectural design, which equipped him with basic skills of sketch and painting. After graduation, he, along with three of his college peers, involved himself in a community development project, called Utopia, to renovate an aging community in Taichung City into a cultural and creative community, which later became an archetype for a series of community development projects in Taiwan during 1985-1990. After then, he founded his own business, Rose House, a tea house in Taichung in 1990. Also passionate in classical music, he has chaired the Classic Orchestra of Taichung for 20 years; during which many young talents have been well trained and nurtured through his leadership and sponsorship.

Huang is an avid aficionado of Antoine de Saint-Exupery The Little Prince, especially fascinated with its iconic rose in this book, which made him name his tea house. He started his artist career by self-taught and had developed a series of paintings in roses with mixed styles of western Expressionism and Fauvism while influenced by Antoni Gaudi organic architectural languages and the natural perspectives of Umehara Ryuzaburo as well as the fauvistic forms and colors of the Taiwanese artist Liao Chi-Chun, to be called “the Rose Period “for his very first creation in art during a period from 1995 to 2012. Among his signature works in this period are Yellow Roses (1999), Self-Portrait of a Rose Man (2000), Rose Garden in Kenting (2008), Rose Garden in Full Blossom (2008) and   (2010) to name a few.

From 2012 to the present, so called “the Beijing Period “in a quest for better understanding the theory of aesthetics in order to elevate his creative soul, Huang enrolled in a MA program at Tsinghua University in Beijing in 2012 to study Aesthetics. During this period, he was influenced by the thoughts of Taoism and the perspectives of Heidegger and Kant, which also ignited a number of profound changes in the form of his creation in art. He tried to fuse oil and acrylic paints and experimented a new form for his roses by borrowing the archaic ornamentation from the Chinese bronze objects and adopting the linear and cursive strokes from Chinese calligraphy to create a striking contrast in forms and colors; later, he even adventured an abstract form in further pursuit of time and space in his beloved theme of roses. Mr. Xu Cun-En, a highly acclaimed art critic in China and editor at large of a heavy-weighted encyclopedia-Chinese Art, once commented on Huang’s latest works that “Huang’s abstract paintings created a new paradigm for the Chinese ink and brush paintings while well applying a western abstract form to it, in which he successfully leveled his achievement in art with his predecessors, like Wu Guanzhong and Zao Wou-ki.”

In 1999, Huang’s work was first exhibited at Taichung City Cultural Center, and in 2000 at Changhua Cultural Center in Changhua, Taiwan. Besides, his work, Yellow Roses (1999), drew an attention to Visa card in 2003, which made him the first Chinese artist to work with Visa card and had his work imprinted on the cards worldwide. In 2010, he featured a solo exhibition at the National Taiwan Museum of Fine Arts, and also partnered in a celebrated drama production, Red Rose and White Rose, which premiered at China National Centre for the Performing Arts in Beijing. Furthermore, his artistry also extends to other artistic realms, as he is also a famed designer of exquisite porcelain and chinaware, being the only Asian designer for Aynsley china, the British Royal Family china supplier. His artworks were imprinted on the commemoration chinaware of the Royal Wedding of Prince William, and of the 60th Anniversary of Queen Elizabeth II Coronation. Today, his chinaware and porcelain works are greatly sought after by collectors worldwide. 

Huang’s art embodies in his symbolic roses his passionate pursuits of both social traditions and self-explorations, integrating artistic dimensions, literary discourses, philosophical reflections, and religious dialogues to enrich the meaning of rose and life. As Asia Week commented,” through his love and ideal of his roses, Robert Huang has promoted cultural sophistication of life to new heights, ” His art speaks for the natural and eternal longing of all humanity.

Solo Exhibitions

1999, Taichung Municipal Cultural Center (Taichung, Taiwan)
2000, Chang-Hua Municipal Cultural Center (Chang-Hua, Taiwan)
2010, National Art Museum of Taiwan (Taichung, Taiwan)
2010, Shing-Kong Shin Yi Place A9 (Taipei, Taiwan)
2011, Shing-Kong Shin Yi Place A9 (Taipei, Taiwan)
2011, “Robert Huang, Paris, and Roses” at Centre culturel de Chine à Paris (Paris, France)
2012, Shing-Kong Shin Yi Place A9 (Taipei, Taiwan)
2013, Shing-Kong Shin Yi Place A9 (Taipei, Taiwan)
2014, Shing-Kong Shin Yi Place A9 (Taipei, Taiwan)

Other Credits

2011, Collaboration with Red Rose and White Rose, an opera debuted in Beijing National Theater (Beijing, China)
2014, The Little Prince Vintage Book Exhibition at Shing-Kong A9 (Taipei, Taiwan)
2015, The Little Prince Vintage Book Exhibition at Huashan 1914 Creative Park (Taipei, Taiwan)

2010-2017 Art Calendar Publications with Eslite Bookstore

Visa/Mastercard Card Covers

2003, Visa Cover (First Chinese artist’ work on a visa card cover)  
2010, Master Cover with “The Roses’ Fires” 
2011, Visa Cover with “The Little Prince’s Rose Garden-3” 
2012, Visa Cover with “The Macaron City” 

Design/Collaborations with Ansley (a fine bone China ware brand) 

2004, The Victorian Collection (First Chinese Artist Collab with Aynsley)
2008, Tai-Chi Rose Collection (debuted in Frankfurt) 
2010, Collaborated as one of the designers for Prince William’s Wedding Collection
2012, The Queen’s 60th Coronation Anniversary Collection (debuted in Taipei)

Art Publications

2004, Jan. Cover Interview in China Art
2004, Jul. Cover Interview in China Art
2004, Aug. Cover Interview in China Art
2006, Cover Interview in China Art
2011, Art Portfolio “Robert Huang, Paris, and Roses” (conjoining the exhibition at Centre culturel de Chine à Paris)
2015, Art Commentary: “The Conversation of Life and the Endurance of Ideologies” in Journal of Macao Polytechnic    

2016, Nov. Academic Paper, “The Rose Philosophy and Aesthetics” in INK magazine Cover Interview in Chinese Oil
 Master’s Thesis: The Analysis and Implied metaphors in The Little Prince

Auction Results

2010.06.02 Beijing Poly Auction, Little Prince’s Rose Garden (Oil Paint, Canvas, 116x90cm) RMB $212,800
2010.12.02 Beijing Poly Auction, Garden of Roses (Oil Paint, Canvas, 130x89cm) RMB $225,200
2011.06.03 Beijing Poly Auction, Little Prince’s Rose Garden-3 (Oil paint, Canvas, 91x72.2cm) RMB $598,000
2011.12.04 Beijing Poly Auction, Red Rose and White Rose (Oil Paint, Canvas, 130x89cm) RMB $483,000
2012.06.02 Beijing Poly Auction, The Venetian Night (Oil Paint, Canvas, 65x50cm) RMB $115,000
2012.12.04  Beijing Poly Auction, Summer Roses-2 (Oil Paint, Canvas, 41x61cm) RMB $126,500
2013.06.02 Beijing Poly Auction, Rose Fantasia-1 Spring of Sun Moon Lake (Oil Paint, Canvas, 116x91cm) RMB $287,500

Institution Collections

 E-Sun Bank, E-Sun Financial Holdings.

A Walk in Autumn, Robert Huang, Mixed media, 2017 (100x80cm)

A Walk in Autumn, Robert Huang, Mixed media, 2017 (100x80cm)

Impression in Kenting I, Robert Huang, Mixed media, 2016 (60x60cm)

Impression in Kenting I, Robert Huang, Mixed media, 2016 (60x60cm)

Robert Huang, Mixed media, 2017 (100x100cm)

Robert Huang, Mixed media, 2017 (100x100cm)

Robert Huang, Mixed media, 2016 (73x91cm)

Robert Huang, Mixed media, 2016 (73x91cm)

Robert Huang, Mixed media, 2018 (130x130cm)

Robert Huang, Mixed media, 2018 (130x130cm)