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“Friends marvel at my contentment. I tell them that after all we are mere travelers in this journey on Earth with our kit of innate and acquired tools swung over our shoulders and moving on to our destiny.”

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“I shall end with a word on happiness itself, that elusive thing which we all seek in life. I can tell you that like rare and worthwhile things, it simply does not grow on trees for all to pick and taste. It has to reworked and planned for. Then, some day, somehow, it will spring forth from some inner reserves of a mature heart!”

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This artwork gives an impression that the artist is trying to show her maybe most liked fruit or show off a local food.

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There are texture in this artwork because the wall on the very left of the artwork is not flat but so called layered. This can be seen as the artist used different shades and colours which makes the walls look layered.

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These three elements are well obvious and defined as even when the colours are similar for example the shades of brown with the rotan like material and the wall, you can still see the different subject matters.

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The colours that are generally used in this artwork are, red, beige, silver, grey and different shades of brown.

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The sizes of every subject matter is small enough to make the artwork look like there are many subject matters and is cluttered with them.

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The subject matters looks cramped and crowded with phoenix eyes. It looks like as if the table would be overloaded and soon the phoenix eyes would fall onto the floor.

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There is a pattern in this artwork because there is a repetition of phoenix eyes and strands of rotan like materials

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There is contrast in this artwork. The phoenix eyes are red in colour which contrast with the table which is beige and plate which is silver in colour. This creates emphasis on the phoenix eyes as red is the most vibrant colour in this artwork.

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There is a movement in this artwork. Our eyes would go from the spatula which is facing downwards which leads us to the ball of rotan like material that is filled with the phoenix eyes then to the one only strand of rotan near the middle of the ball. This strand would lead our eyes to the plate that is filled with more phoenix eyes and a bowl with the black looking seeds.

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There is no balance in this artwork as the phoenix eyes are laid randomly in the artwork.

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- a weaved ball like object that is filled with phoenix eyes fruits
- many phoenix eyes scattered on the table, some with seeds and some are empty.
- frying spatula, bowl and a plate which all together gives off a cozy kitchen
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Since Georgette Chen's favourite subject was her husband and  that her husband was wholly supportive of Chen's artistic career, he poses for her. This artwork also shows how close their relationship is as Eugene seems to look comfortable with his wife painting him. Eugene looks like he is deep in his thoughts as he is looking further than the painter.

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In this artwork there is a texture that is made from brushes and different shades of a colour. This gives off a more realistic feeling on the artwork rather than a plain one coloured painting.

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The colour used in this artwork are dull colours like grey, beige and off-white colour. These colours may show the seriousness of a male figure.

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The shapes and lines are curvy and are not straight. This gives the realistic look such as the outfit of the main subject matter. The form is defined because we can tell the shapes of the subject matter clearly and can tell them apart.

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The artwork does look like it is overfilled with an object and there is space between the edge of the artwork and the seat making the artwork look less cramped

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There is no pattern in this artwork

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There is rhythm in this artwork. It starts from Eugene's head where he is looking 45 degrees to his left followed by his scarf. The end of the scarf is facing downwards which leads our eyes to his hands which is holding onto a book

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There is contrast ion this artwork. The outfit of the main subject matter is grey which contrasts the seat that he is sitting on. With this contrast, it gives more emphasis on the artist's husband by making it stand out and without the seat, he would almost blend in with the off-white wall.

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There is balance in this artwork  because Eugene is in the center of the artwork. However, his posture is slanting towards his left side

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to her second husband : " I am beginning to sympathise with Pauline, your first wife, for running away from you... I admit that I am very, very tired and am gradually accustomed to the idea that I may have to admit failure publicly"

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Oil on Canvas

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- Georgette Chen's Husband, Eugene Chen sitting down posing for Georgette Chen with a serious look. He is wearing a grey top and close to black bottoms. He is also wearing a white scarf with circle shaped glasses.
- chair that Eugene is sitting on made out of rotan.
- book that is held by Eugene Chen

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Father : Zhang Jingjiang
Mother : Yao Hui

Georgette Chen was born in a in a wealthy family in the Chinese province of Zhejiang. She was born in Paris which was where her father was an antique dealer. Not only that but also, her father was a financial supporter of the revolutionary Sun Yet Sen.

Georgette Chen was married to Eugene Chen and travelled to China. However, when war with Japan broke out in 1937, their lives were thrown into turmoil because Eugene was imprisoned by the Japanese. hence, he died as a prisoner of war in 1944.

Georgette Chen had a second marriage after Eugene Chen died. She was married to Ho Yung Chi which eventually end in divorce. They divorced in 1953.

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She spent her growing years in Shanghai, New York and Paris. This was where she found her success as an artist following formal training in art academies. From 1951-1953, she had a short stay in Penang. After that, she settled in Singapore in 1954. In Singapore, she taught at Nanyang Academy of Fine Arts till her retirement in 1980. She was well loved by her students. Due to her contributions to Singapore art, Chen was awarded the Cultural Medallion in 1982.

Schools that she went to :
- 1926 Arts Students League of New York, America
- 1927 Academie Colarossi and Academia Biloul, Paris

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Born : China, 1906
About her : She was one of group of artists who established "Nanyang Style"