Chinese social media has been buzzing after a post on Xiaohongshu, China’s visually driven platform similar to Instagram, claimed that an original Claude Monet painting was sold through the app. The excitement began on December 9 when an account named “Gallery Boss’s Backyard Garden” shared a photo of a 1908 Nymphéas painting, along with details of its provenance and exhibition history.
The seller, Gao Zhen-yu, who owns Gao’s Gallery in Avignon, France, described the painting as a rare piece measuring 100 cm x 100 cm. Gao’s post quickly went viral, with over 20,000 comments ranging from humorous remarks to genuine intrigue. Days later, another account linked to Gao revealed that a buyer had purchased the artwork for “several” hundred million yuan, arranging for its shipment to Switzerland. Screenshots of the transaction were shared, identifying the buyer’s surname as Tian.
Skepticism, however, loomed over the authenticity of both the painting and the sale. While Gao claimed the artwork matched entries in the Catalogue Raisonné published by the Wildenstein Institute, critics questioned the credibility of such a high-stakes sale occurring on a social media app. Gao declined further details, citing the need to protect the buyer’s privacy.
The story added to Gao’s growing notoriety on Xiaohongshu. Earlier, he drew backlash for destroying a 400-year-old Dutch painting by Egbert van Heemskerck, believing it to be a fake. Gao later admitted his error, prompting criticism that he sought attention rather than professionalism.
Xiaohongshu’s prominence in China’s art market is undeniable. With a user base that skews highly educated and aspirational, it has become a hub for international galleries and artists aiming to connect with Chinese buyers. Yet, critics argue that the platform’s emphasis on flashy content fosters an echo chamber of sensationalism.
Art consultant Qi Chao noted that while Xiaohongshu provides opportunities to discover new works, it often prioritizes controversy and attention-grabbing headlines. Such practices, he argues, erode public trust in an already opaque market.
Whether this alleged Monet transaction was genuine or not, it has fueled discussions on the intersection of art, social media, and consumer behavior in China.
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