On March 11, "Beauty in the New Era - Special Exhibition of Fine Works from the Collection of the National Art Museum of China (Phase II)" opened in Beijing. The surging news saw at the scene that the exhibition took the red background as the main color, showing the great beauty of the landscape and the cuteness of all things, and presented nearly 300 works collected by the National Art Museum of China, including paintings, sculptures and video works.
The exhibition is divided into two chapters: "Expressing the New Era with Beauty" and "Presenting beauty to the New Era". Among them, the second chapter exhibits the works of modern and modern masters such as Qi Baishi, Huang Binhong, Xu Beihong, Lin Fengmian, Liu Haisu, Pan Tianshou, Fu Baoshi, and Li Keyan. The exhibition is on display in Halls 1 to 9 on the first floor of the National Art Museum of China until March 30.
Exhibition site
From the perspective of Huang Binhong and Li Keyan: there is great beauty in the landscape
According to reports, this exhibition is the second phase of "Beauty in the New Era", the National Art Museum of China held the first exhibition of "Beauty in the New Era" in the winter of 2017, which has attracted much attention, and the number and quality of exhibits in this exhibition are relatively high, covering many masterpieces of modern and modern times, and the audience also stops and lingers in front of these works.
For example, the works of Lin Fengmian, Qi Baishi, Fu Baoshi and Wu Guanzhong, which are mainly exhibited in the central exhibition hall and the two exhibition halls on the flanks, are mainly exhibited.
In Huang Binhong's "Qixia Mountain Residence", the trees and houses are vivid and free, and the distant mountains are ink-colored and misty. Huang Binhong was influenced by the "Xin'an School" in his early years, and was characterized by dry brush and light ink, sparse and light, as "White Binhong"; after the age of eighty, he was characterized by black dense and thick, transparent black, and "Black Binhong". His works attach importance to the unity of virtual reality, complexity and simplicity in the chapters, and use the pen as a seal, and have the so-called "black, dense, and thick" painting style.
Huang Binhong's "Qixia Mountain Residence"
The National Art Museum of China has exhibited Li Keyan's works many times, this time presented is his "Mountain Quiet Waterfall Noise", Li Keyan has created a new aesthetic realm of landscape painting, ink dyeing rivers and mountains, thick and magnificent, he also often likes to paint mountain waterfalls, creating a gap in the depressed mountain. Regarding painting waterfalls, he once introduced: "I have painted a waterfall before, the waterfall is the main body, the first; the pavilion is the second; the tree is the third; the rock, the shrub is the fourth, and so on. From the relationship between light and shade, the waterfall, the brightest, the pavilion is second, and then the trees, rocks, according to the first, second, third, four rows down, the level of light and shade is very clear. If you leave a blank space in the rocky part, it will make the main waterfall not protrude. In order to highlight the main body, the secondary bright part must be pressed down, the color scale is not chaotic, the level is clear, the overall sense is strong, and the main body can be obviously prominent. ”
Li Keyan, "The Noise of Mountains and Quiet Waterfalls"
Depicting the scenery of Jiangnan is one of the themes that painters like to create, especially in the 1960s and 1970s, many famous artists who were committed to reforming the creative techniques of Chinese painting put the breakthrough of change on the depiction of Jiangnan themes. On the one hand, it is due to the beautiful scenery of Jiangnan, white walls and black tiles, and scenery everywhere; on the other hand, the unique humidity and lushness of Jiangnan are suitable for integrating into the techniques of expressing light and shadow in Western paintings. Records show that Li Keyan's works depicting the water towns of Jiangnan have been recorded in more than ten albums. Li Keyan likes live-action sketches and has accumulated a large number of sketches.
Li Keyan", "Spring Rain Jiangnan"
Li Keyan's "Wuxia Sail Shadow"
Wu Hufan and Pu Xinqi are called "Southern Wu And Northern Pu". In his later years, he specialized in the creation of the Chinese Academy of Painting in Shanghai. Wu Hufan's paintings start from the ancient method, first "four kings" and then integrate the patriarchal law of the north and the south, with meticulous modeling, exquisite pen and ink, and strange colors. He is involved in landscapes, flowers, birds and figures, and is proficient in calligraphy and lexicography. Its landscape is mainly to transform the ancient law for its own use, but also deep in the fresh and elegant mood. "Lushan Southeast Wulao Peak" is a landscape painting combining ink and green, which is a masterpiece of the combination of ideal and reality.
Wu Hufan, "Five Old Peaks in the Southeast of Lushan Mountain"
Fu Baoshi is also good at landscapes, and in middle age, he was created as a "bouldering stone", with a relaxed penmanship and a bold momentum, especially good at the scenery of springs and waterfalls, rain and fog; in his later years, he made many large works, bold and strong, with a strong sense of the times, and the character paintings were many ladies and high priests, and the image was high. This time, he presented his "Picture of the Jiangshan to be Detailed".
Fu Baoshi's "Drawing of the Jiangshan to be Detailed"
Qi Baishi, Liu Haisu: Everything is cute
Qi Baishi is good at discovering the beauty of the most ordinary things around him, his "Cherry", from a distance, is bright and dazzling, the full cherries are dyed with thick red dots, rich in thick and light changes, cherry stems and containers containing cherries are childish and cute, the ink color is sparse, and there are few strokes. Although the painting is a cherry, the inscription poem is written about the beauty: the beauty is often in the mouth of the incense. It was painted in April of the year of Xin In the Iron House of Jinghua. Old Man Shiraishi.
Qi Baishi "Cherry"
Lin Fengmian "Night Owl"
"Shenzhou is all in the color fog", when it comes to the thickness of color, it is necessary to mention Liu Haisu. Liu Haisu's oil painting creation boldly draws on the performance characteristics of the outlining method, the blank space method, the dyeing method, and the splash ink and color splash method in Chinese painting. He likes to use heavy colors such as pulan and ochre to hook objects directly, rough and simple, and he is also good at juxtaposing colors with complementary color relationships such as red and green, brown and blue, orange and purple. Liu Haisu once said: "Big red and big green, also Qi Yizhuang." God and wrist together, ancient and modern. The lushness of the end, the faint glow of the smoke tree. The monk laughed, and Yang Sheng's heart fell, which was the madness of the sea millet. ”
Liu Haisu "Red Lotus Green Feather"
Jao Zongyi's "Jade Well Lotus"
Xie Zhiliu's "Black Ape" part
It is worth noting that the exhibition has two special exhibition halls to present images documenting the painting process of the older generation of artists, such as "Painter Qi Baishi" screened in Hall 6, filmed in 1955, restoring Qi Baishi's painting process, starting from the shrimp he raised in the brush, introducing how he completed the painting through careful observation.
Qi Baishi in the image
"Spring" in the painting
Today is Arbor Day, at the National Art Museum of China, there are also many spring feelings.
In his creative practice, Su Tianci boldly integrated the essence of traditional Chinese painting and formed a unique oil painting expression style. His landscape oil paintings draw on natural scenery in Jiangnan and express his nostalgia for nature, and the oil painting language is fresh, the colors are bright, and he shows a strong oriental meaning and Chinese aesthetic atmosphere.
Su Tianci", "Mountain Village Surrounded by Peach Blossoms"
The most representative of Wu Guanzhong are those abstract works in the later period, and many dots, lines and color blocks appear in his paintings, which constitute a very simple and harmonious visual relationship through aggregation, repetition, arrangement and combination, so that the viewer can clearly feel the artist's innocent heart. Wu Guanzhong's landscape painting creation focuses on the expression of formal charm, such as the rhythmic relationship between lines and lines, block surfaces and blocks, so that there is a harmonious rhythm in the picture. The colors in Wu Guanzhong are soft, and most of the paintings do not use a very thick layer of pigments, but the oil paint is blended relatively thinly, and the brush strokes have no sense of stagnation, and the pen is smooth. Compared with the real, Wu Guanzhong pays more attention to virtual things in painting, and this creative concept should benefit from his experience in ink painting.
Wu Guanzhong "Jiangnan Spring"
As an early artist who studied abroad, Pang was also one of the organizers of the emerging art enlightenment at that time. He integrates chinese and Western artistic characteristics, innovates on the basis of drawing on Western modernist art, and collects extensively ancient Chinese decorative patterns and folk art. Fu Lei once commented on Pang Xuanxuan: "There are all kinds of dreams, but The dreams of Fu Xuan are the dreams of art and the dreams of the spirit." He made the color the weft, the line as the scripture, and the whole life as the material, weaving into his dreams of many colors. He observes, experiences, and analyzes like a mathematician, and he organizes, generalizes, and synthesizes like a philosopher. He analyzed the synthesis, synthesized and analyzed, and evolved endlessly. ”
Pang Xuanxuan "Aquaculture"
In addition, the considerable volume of works in this exhibition are works on ecological civilization, poverty alleviation, fight against the epidemic, education, science and technology, sports and other contents, with strong practical concern. Wu Weishan, director of the National Art Museum of China, said that the works exhibited in the exhibition shine with ideas and wisdom, reflect the national character and the connotation of the times, which is not only a reflection of the time and the present, but also overflows with the spiritual charm of timelessness and advancement with the times with its transcendence.
The exhibition is co-sponsored by China National Radio and Television Corporation and the National Art Museum of China, and co-organized by the Central News Documentary Film Studio (Group).