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写生与油画民族化(Sketching and nationalization of oil paintings)
写生与油画民族化(Sketching and nationalization of oil paintings)
Sketch painting from Tibet and nationalization of oil painting
Modern oil painting was introduced into China for more than one hundred years, although artistic ideas
The change has changed peoples opinions about the art of shelf, but oil painting is still the same
It is a big part of art education and creation. Jin Shangyi once said: oil painting is.
Art belonging to the age of industrialization. (Jin Shangyi talking about teaching and creation)
Even in the constant renovation of ideas, forms of language are diverse in Contemporary Art
Oil painting is still the main form of creation. Just todays oil painting
The work has broken through the subject restrictions and political framework, and more has since
The components of my consciousness and personality. It is also because of this, the older oil painting
The emphasis on oil painting language is no longer a contemporary painters management painting
Main appeals. In the diversity of judging standards and diversification of ideas
In the past, the nationalization of painting and painting seems a bit old. However, from
In recent years, several large-scale oil painting exhibition situation, Chinas Contemporary
Oil painting is still along the two branches (concept painting and realistic painting)
(painting) a line (painting nationalization) forward.
To the Chinese Academy of art, China Oil Painting Institute sponsored two large
Oil painting exhibition back to painting and face the original code as an example, the exhibition through
Xu Beihong, Wu Zuoren, Dong Xiwen, Pan Yuliang, Luo Gongliu, Zhan Jianjun, Jin
Shang Yi, such as the last century to stay in Europe, Su Su painters, as well as Ai Xuan, Liu Xiaodong, Chen
Wen Ji and other contemporary young artists hundred sketching and copying works
The exhibition has been put forward by Chinese oil painting in the creation of contemporary oil painting
Importance and the necessity of bringing up the sketch. Go back, 2009,
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