Acꦚquired by the grand-parents of the present owner in Shanghai or Hong Kong prior to 1955, and thence by family descent.

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現藏家之祖父母於1955年前得自上海或香港，後家族流傳至今

Throughout his long and productive life, Lin Fengmian (1900-1991) absorbed diverse influences, hybridizing a wide array of stylistic approaches into his expressive paintings. He was one of the first Chinese artists to make a serious study of European modern art while also looking carefully at the Song dynasty (960–1279) la𒆙ndscape paintings and ceramics. He saw no contradiction in this coexistence – Eastern, Western, ancient and modern influences all commingling in a single work of art.

Autumn scene with a bridge and willow trees demonstrates artist’s intꦗerest in the realistic depiction of weather, a favorite subject of the French Impressionists. Adapting oil painting techniques to depict rhythmic rows of translucent waves in pastel, Lin creates a turbulent mood set off by a looming grey clouds. The play of light between the somber shades of blue and grey of the water and the sky creates a sense of distance and depth.

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林風眠漫長的生命🐠和創作旅程成果豐碩，其作品表現力豐富，展現多元的藝術風格。他是最早一批鑽研歐洲現代藝術的中國藝術家，對宋代山水畫及宋瓷也有深刻理解。林風眠認為，東與西、古與今的共存並不矛盾，皆可盡納♑於一件藝術品中。

《秋色扶疏清河柳》展現林風眠對於寫實描繪天氣的興趣，而天氣也是法國印象派的經典主題。林氏利用油畫技法以粉色描繪起伏跌宕的半透明波浪，營造出一種激蕩的節奏，再以烏雲籠罩海面加強💞氣氛。藝術家運用海和天的灰與藍， 輔以暗影之間的光線變化，營造距離感和景深。