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He Guanlin丨 uses lines and color blocks to splice light and shadow effects, creating an idyllic picture

The mountains in the distance are immersed in layers of mist, which appear and disappear from time to time; In the nearby mountains, streams overflow from the passes, rushing and pouring in style, and flocks of birds pass by under the blue sky; The walls of the warped shingled shingles of corn are interspersed with the dense maple forests and the tall and gentle stacks of wheat that form a dazzling autumn golden ...... The idyllic pictures are leisurely generated under the pen of the painter He Guanlin, and when we walk in front of these paintings, we cannot tolerate a moment of hesitation, and then we are happy to accept them all.

As a landscape painter, He Guanlin's painting language has strong personality characteristics: he does not like to use simple gray or cold brown tones to pave the picture like local landscape painters, he prefers those dazzling and gorgeous warm colors, which is very similar to the colors used by landscape painters in the north; However, in terms of expression, it is different from the northern painters who often use the overlapping and intersecting of large blocks of color to form a thick and rough texture, so as to concisely summarize and highlight the scenery full of majestic and desolate signs in the north, and convey a certain kind of agitated emotions and desire tension with a grand narrative. The difference between He Guanlin is that he departs from the concise and generalized performance routine, and adds the details that he thinks are necessary, so that the existence that should exist makes the existence rich and rich.

He makes the mountains majestic and majestic without losing their simplicity and intimacy; Let the vicissitudes of the tree be vigorous without losing its abundance and colorfulness; He dilutes the loneliness and depth of the blue sky with birds that fly freely; Use farmhouses, wheat stacks, cattle and sheep to stir up the vitality and romance of the earth, not just the vastness and desolation. At the same time, he also borrowed the techniques and elements of printmaking, using flat lines and simple color blocks to stitch together the effect of light and shadow and suppress some of the craftsmanship that may be brought about by too many details.

Work appreciation

He Guanlin丨 uses lines and color blocks to splice light and shadow effects, creating an idyllic picture

Undercurrent

He Guanlin丨 uses lines and color blocks to splice light and shadow effects, creating an idyllic picture

"Flying Dreams"

He Guanlin丨 uses lines and color blocks to splice light and shadow effects, creating an idyllic picture

The Walnut Tree

He Guanlin丨 uses lines and color blocks to splice light and shadow effects, creating an idyllic picture

The Sound of Flowers

He Guanlin丨 uses lines and color blocks to splice light and shadow effects, creating an idyllic picture

Blossom

He Guanlin丨 uses lines and color blocks to splice light and shadow effects, creating an idyllic picture

Happy Birds

He Guanlin丨 uses lines and color blocks to splice light and shadow effects, creating an idyllic picture

Westbound Road 2

He Guanlin丨 uses lines and color blocks to splice light and shadow effects, creating an idyllic picture

"Meet in Golden Autumn"

He Guanlin丨 uses lines and color blocks to splice light and shadow effects, creating an idyllic picture

Wild Lilies

He Guanlin丨 uses lines and color blocks to splice light and shadow effects, creating an idyllic picture

"It's a Good Autumn Again"

He Guanlin丨 uses lines and color blocks to splice light and shadow effects, creating an idyllic picture

Far Song

He Guanlin丨 uses lines and color blocks to splice light and shadow effects, creating an idyllic picture

Far Lake

He Guanlin丨 uses lines and color blocks to splice light and shadow effects, creating an idyllic picture

"The Source of Nature"

(Source: Bashu School)

Artist Profile

He Guanlin丨 uses lines and color blocks to splice light and shadow effects, creating an idyllic picture

He Guanlin, a national first-class artist, a member of the Chinese Artists Association, a member of the Chinese Printmakers Association, the vice president of the Sichuan Bashu School of Painting Promotion Association, the director of the Oil Painting Art Committee, the deputy director of the Oil Painting Art Committee of the Sichuan Artists Association, and the secretary-general of the Kunlun Landscape Oil Painting Research Association, enjoy special government allowances. His works participated in the "9th, 10th, 12th, 13th and 14th National Art Exhibition", won the "Ninth National Art Exhibition" Excellence Award, the second prize of the "National Art Exhibition to Commemorate the 50th Anniversary of the Victory of the Anti-Japanese War", the "Canada International Ink Exhibition" Excellent Award, the "Celebration of the 80th Anniversary of the Founding of the Communist Party of China" National Art Exhibition, the "12th Chinese Population Culture Award" Gold Award, the "Bashu Literature and Art Award", the "Sichuan Province Art Exhibition" Gold Award and other awards, and was named the first batch of "Sichuan Bashu School Influential Representatives". He Guanlin Oil Painting and other personal albums have been published.

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