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Student Artwork Guide

Drying Salted Fish

Name Class Date

Cheong Soo Pieng, Drying Salted Fish (1978), National Museum of Singapore. Reproduced for reference; rights reserved by the rights holder. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
Cheong Soo Pieng topimpressionists.com/en/artists/cheong-soo-pieng/
Artist’s dates
1917 – 1983
Painted
1978
Original size
30 x 700 cm
Movement
Nanyang Style
Held at
National Museum of Singapore topimpressionists.com/en/museums/national-museum-of-singapore-singapore/

In context

Drying Salted Fish — Cheong Soo Pieng

How big is it?

The original measures 30 × 700 cm (height × width), drawn here beside an adult of average height.

When was this painted?

  1. 1910
  2. 1920
  3. 1930
  4. 1940
  5. 1950
  6. 1960
  7. 1970
  8. 1980

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 66 at death.

Painted when the artist was 61. The artist lived to 66. 3 of the 6 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of Cheong Soo Pieng (1917–1983) ▲ this work, 1978 every dated painting, decade by decade

Compare with

  • Bali Beach topimpressionists.com/en/art/cheong-soo-pieng-bali-beach-D4Q9H6-en/
  • Still Life topimpressionists.com/en/art/cheong-soo-pieng-still-life-D4Q9CB-en/
  • Weaver, 1981 topimpressionists.com/en/art/cheong-soo-pieng-weaver-D9DJG3-en/

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: topimpressionists.com/en/art/similar/cheong-soo-pieng-drying-salted-fish-D9DJAV-en/

Colours

Measured from the image

    Main colour

    Gray #67665a

    Catalogued palette

    • #67665A
    • #C7BBA5
    • #A99F8A
    • #8C8473

    These colours inside the artist’s whole palette Find other paintings by colour

    Palette
    Neutrals The dominant colour family in the image.
    Main colour name
    Gray
    Intensity
    Balanced How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Serene How much the colours differ in lightness and saturation across the picture.
    Harmony
    Unified Palette How well the colours work together, from clashing to fully unified.
    Brightness
    Brilliant How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Muted How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by Cheong Soo Pieng over the last twelve months — 2 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 85.7%
    2. 2 Malaysia 14.3%

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 9 most looked-at works by Cheong Soo Pieng

    1. 1 Harvesting 20.0%
    2. 2 Drying Salted Fish, 1978 this painting 10.0%
    3. 3 Bali Beach 10.0%
    4. 4 Still Life 10.0%
    5. 5 (Untitled) Portrait of a Young Man, 1952 10.0%
    6. 6 Repose 10.0%
    7. 7 Scene 10.0%
    8. 8 Abstract 10.0%
    9. 9 Padi Planting Malaysia 10.0%

    Together these works take 100.0% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 18 works by this artist, of which 9 were looked at at least once. This painting ranks 2 of them, with 10.0% of that attention. The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    About this artwork

    Drying Salted Fish — Cheong Soo Pieng

    Cheong Soo Pieng (1917-1983) is regarded as a pivotal figure in Singapore

    Artist and museum

    Artist

    Cheong Soo Pieng

    The Architect of Nanyang Modernism

    In the vibrant tapestry of twentieth-century Asian art, few threads shine as brightly or as uniquely as those woven by Cheong Soo Pieng. A visionary who bridged the vast distance between the ancient traditions of the East and the avant-garde movements of the West, Cheong stands as a monumental figure in Singaporean art history. Born in 1917 in Amoy, China, his early life was marked by a profound connection to the classical aesthetics of his heritage, yet his spirit was destined for the tropical rhythms of Southeast Asia. His formative education at the Xiamen Academy of Fine Art and later in Shanghai provided him with a rigorous foundation in Chinese ink painting, but it was his move to Singapore in 1946 that would ignite his true artistic revolution.

    Cheong did not merely adopt a new landscape; he reimagined it through a lens of modernism. Alongside contemporaries like Chen Wen Hsi, he became a primary architect of the Nanyang style—a movement that sought to capture the soul of the Malay Peninsula and the Indonesian archipelago. This was not a mere imitation of European trends, but a sophisticated fusion. He took the structural lessons of Cubism and the dreamlike qualities of Surrealism and breathed into them the warmth, color, and cultural vitality of Southeast Asian life. His work became a dialogue between the geometric precision of the West and the organic, flowing essence of the tropics.

    A Symphony of Form and Local Essence

    To gaze upon a Cheong Soo Pieng masterpiece is to witness a masterful command of both line and light. His technique was characterized by an extraordinary ability to use bold, saturated colors and thick black contours to delineate forms that felt both grounded and ethereal. He possessed a signature way of depicting indigenous tribal people, often portraying figures with elongated limbs and almond-shaped eyes—a stylistic choice that lent his subjects a graceful, almost mythic quality. This rhythmic approach to the human figure allowed him to transform everyday scenes into something timeless and iconic.

    His subject matter served as a love letter to the regional identity. Through his brush, the mundane became magnificent:

    The Rhythms of Labor: He captured the communal spirit of Weaver and the industriousness of fishermen hauling nets or farmers tending to rice paddies.

    Cultural Heritage: Works like Kayan Musician celebrate the traditional musical performances that define the region's cultural heartbeat.

    Tropical Serenity: In pieces such as Bali Beach, he invited viewers into a world of relaxation and sun-drenched landscapes, using fragmented geometric shapes to mirror the heat and movement of the shore.

    The Beauty of the Ordinary: Even in his more intimate studies, such as Drying Salted Fish or his various still lifes, there is an unwavering dedication to the palpable essence of human experience within a specific cultural context.

    Legacy and the Enduring Spirit of Innovation

    As his career progressed, Cheong’s experimentation knew no bounds. He was never content with staying within the safety of oil or watercolor; he fearlessly pushed the limits of his medium by exploring metal reliefs, lacquer, Masonite, and mixed media. This relentless pursuit of innovation ensured that his work remained dynamic, evolving from the figurative clarity of his early Nanyang years toward more complex, layered, and abstract compositions. His later works, such as Abstract Composition, demonstrate a profound depth where texture and color take center stage, reflecting a mature artist grappling with the very essence of spatial relationships.

    Cheong Soo Pieng passed away in 1983, but his influence remains an indelible part of the global art canon. He did more than create paintings; he helped forge a visual identity for a region in transition. By rejecting rigid European academic conventions in favor of a style that honored local textures and rhythms, he gave Southeast Asia a modern voice. Today, his works reside in prestigious collections such as the National Gallery Singapore, serving as a permanent testament to a man who saw the beauty in the fragmented, the strength in the stylized, and the eternal in the everyday.

    Museum

    National Museum of Singapore

    On show in Singapore, Singapore

    A Bastion of Heritage: The Soul of Singapore

    The National Museum of Singapore is far more than a mere repository for artifacts; it is a living, breathing embodiment of a nation’s soul. Established in 1849 as a modest section within the Raffles Library and Museum, its storied history mirrors the very evolution of Singapore itself—a journey from a colonial outpost to a vibrant, cosmopolitan metropolis. Standing proudly on Stamford Road, the museum serves as a luminous beacon that illuminates the past while actively participating in the dialogues that shape Singapore's future. To walk through its doors is to embark on a temporal odyssey, where every corridor offers a chance to witness the resilience and transformation of an island nation.

    The architecture of the museum is a masterful dialogue between eras, reflecting a dual heritage that is both reverent of tradition and optimistic about progress. Its magnificent façade, characterized by Neoclassical elegance, utilizes stately columns and symmetrical proportions to evoke the stability and prestige of Singapore's colonial era. Yet, this historic grandeur does not exist in isolation; it seamlessly integrates with contemporary extensions crafted from glass and steel. This deliberate juxtaposition of old and new symbolizes a nation that honors its roots while relentlessly embracing innovation, creating an environment where the weight of history meets the lightness of modern design.

    A Tapestry of Artistic Brilliance and Cultural Identity

    Within these meticulously curated halls, visitors encounter a breathtaking collection that serves as a microcosm of Singapore’s multicultural identity. The museum does not simply display objects; it crafts immersive narratives that invite deep contemplation. Art lovers will find themselves captivated by the opulent textures of Sir Lawrence Alma-Tadema’s

    “Faust and Marguerite,”

    a masterpiece of Victorian romance that showcases masterful brushwork and profound human emotion. This European classic finds its companion in the evocative sculptures of Julius Mordecai Pinchas, such as

    “Seated Nude with Blue Slippers,”

    which explores the delicate interplay of form and texture. The collection even offers glimpses into the Impressionistic serenity of the Parisian landscape through Theodore Earl Butler’s

    “Lili Butler in Claude Monet’s Garden.”

    Beyond the fine arts, the museum’s collection is uniquely characterized by its commitment to documenting the tangible evolution of Singaporean life. The inclusion of unexpected contemporary relics—such as furniture salvaged from decommissioned SMRT trains and components from Singapore Airlines’ inaugural Airbus A380—demonstrates a profound dedication to capturing the pulse of modern society. This blend of high art, ethnographic treasures, and industrial history makes the museum an essential destination for collectors and historians alike, offering a layered perspective on how identity is forged through both grand movements and everyday transitions.

    A Legacy of Discovery and Connection

    What truly distinguishes the National Museum of Singapore is its dynamic approach to exhibition and education. The museum’s programming transcends static displays, opting instead for interactive explorations that delve into maritime heritage, colonial influences, and the arduous struggles for independence. These exhibitions are designed to foster intellectual curiosity, utilizing storytelling to ensure that intangible cultural heritages are preserved and understood by future generations. For the interior designer or the art enthusiast, the museum serves as a profound source of inspiration, showcasing how history can be woven into the fabric of modern aesthetic appreciation.

    Ultimately, the mission of the National Museum extends far beyond the preservation of the past; it is an active participant in shaping a collective future. By cultivating national pride and encouraging intercultural dialogue, the museum empowers its visitors with knowledge and fosters a deep sense of empathy. It stands as a testament to the power of museums to act as catalysts for understanding, reminding us that our shared history is the foundation upon which we build our ever-changing world.

    Where to read more

    Find this online

    QR code linking to the download page for Drying Salted Fish

    topimpressionists.com/en/art/download/cheong-soo-pieng-drying-salted-fish-D9DJAV-en/

    Cite this artwork

    MLA
    Pieng, Cheong Soo. Drying Salted Fish. 1978, National Museum of Singapore. https://topimpressionists.com/en/art/cheong-soo-pieng-drying-salted-fish-D9DJAV-en/
    APA
    Pieng, Cheong Soo (1978). Drying Salted Fish [Painting]. National Museum of Singapore. https://topimpressionists.com/en/art/cheong-soo-pieng-drying-salted-fish-D9DJAV-en/
    Chicago
    Cheong Soo Pieng. Drying Salted Fish. 1978. National Museum of Singapore. https://topimpressionists.com/en/art/cheong-soo-pieng-drying-salted-fish-D9DJAV-en/
    Harvard
    Pieng, Cheong Soo (1978) Drying Salted Fish. National Museum of Singapore. Available at: https://topimpressionists.com/en/art/cheong-soo-pieng-drying-salted-fish-D9DJAV-en/

    Look closely

    Drying Salted Fish — Cheong Soo Pieng

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. How many faces can you find? ____ (our catalogue counts 8 — do you agree?)
    4. Our catalogue files this work under: rural life, southeast asia, fishing culture. Do you agree? What would you add, or take away?
    5. Look back at Bali Beach, earlier in this guide. Name two things it shares with this work, and one that is different.

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Questions & Answers

    Where can I find artworks similar to "Drying Salted Fish" by Cheong Soo Pieng?

    Artworks similar to "Drying Salted Fish" by Cheong Soo Pieng are gathered on the artwork's Similars page.

    What is the dominant hue of "Drying Salted Fish" by Cheong Soo Pieng?

    An ochre to sepia hue runs through "Drying Salted Fish" by Cheong Soo Pieng.

    How much light do the colors of "Drying Salted Fish" appear to reflect?

    The luminance recorded for "Drying Salted Fish" by Cheong Soo Pieng is gentle luminance.