Yu Ben

Yu Ben

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Yu Ben (1905.6-1995.1), also known as Yu jianben, was born in Taishan, Guangdong Province. Good at oil painting, Chinese painting. In 1928, he was admitted to the suney School of Fine Arts in Canada and graduated from the andreo Academy of Fine Arts in Toronto in 1931. He returned to Hong Kong in 1935. In September 1956, the family returned to settle down. In 1957, Yu Ben's oil painting art entered a new stage. He tried hard to be a Chinese painter who became a monk. He tried to understand the national painting tradition through ink painting, so as to draw lessons from the nationalization of oil painting creation. Yu Ben has always worked hard in art and achieved rich artistic achievements. His representative works include the violator, the Yellow River Ferry, the Great Wall, and the Chinese painting green mountains lying on the river. He has published more than one collection of paintings. He has successively served as vice president of Guangdong Academy of painting and consultant of China Artists Association.

Profile

Yu Ben

(1905.6-1995.1) also known as Yu jianben, was born in Taishan, Guangdong Province. Good at oil painting, Chinese painting. In 1928, he was admitted to the suney School of Fine Arts in Canada. In 1931, he graduated from the andreo Academy of Fine Arts in Toronto. At that time, his painting "the violator" participated in the Canadian National Art Exhibition and World Expo in Ottawa. He returned to Hong Kong in 1935. He went to Guangxi for sketching with Xu Beihong, Li Tiefu and Huang Shaoling. He has held many personal exhibitions in Hong Kong. In September 1956, in response to Premier Zhou Enlai's call for foreign intellectuals to return to China to participate in socialist construction, the whole family returned to settle down. Since 1957, Yu Ben's oil painting art has entered a new stage. He tried hard to be a Chinese painter who became a monk. He tried to understand the national painting tradition through ink painting, so as to draw lessons from the nationalization of oil painting creation. His representative works include oil painting "the player", "the Yellow River ferry", "the Great Wall", "Yan'an", "Three Gorges overlooking", and Chinese painting "green mountains lying on the river". He has published more than one collection of paintings. He has successively served as vice president of Guangdong Academy of painting and consultant of China Artists Association.

Works review

The player of huqin

The bottom layer: joys and sorrows paintings: "the player of the huqin" (later renamed "playing the bitterness of the world"); creation time: 1931 (Chinese art collection) critic: Chen Ying (vice president of Guangzhou Art Museum) for a long time, Canada has been centered on European culture, Canadian painters are deeply influenced by English and French, and rarely reflect the real life of Canada. In 1914, the Canadian "seven person painting school" was born, which emphasized breaking through the shackles of European painting tradition and observing Canada from the perspective of Canadians, with strong regional color and national style. In 1929, Yuben went to andreo Art Institute for further study. Under the guidance of MacDonald, beaty and John stone, the famous painters of the "seven person painting school", he studied painting. He got great inspiration and began to explore the nationalization of oil painting. "the player" was written by Yu Ben when he was 26 years old. In a realistic way, the painting creates a moving image of an overseas Chinese worker, with his bare strong and tired arms, rough fingers pressed tightly on the strings of erhu, playing the piano with his whole body and mind, playing the sound of crying. Although he bowed his head and could not see his facial features, his rich and passionate body movements revealed his inner sadness and anger incisively and vividly. The brown picture is deep and majestic, and has a heart-catching power. Yu Ben observed the Chinese people from the perspective of the Chinese people and excellently expressed the feelings and temperament of the Chinese nation.

Wife

Virtuous beauty painting: wife creation time: 1939 (collected by Yu's descendants) critic: Chen Jichun (Macao art history scholar, doctor of Central Academy of Fine Arts) Chen Yuzhu, born in Vietnam, married Yu Ben in Taishan. A few months later, her husband went back to Canada to study painting, and her family was supported by her. Yu couldn't afford a model for his painting, so he replaced his role with his wife. Later, several portraits were sold, and this painting is the only one left. in this painting, the painter's wife is sitting at the table, wearing a dark brown short sleeve coat. The cuff of her right arm is dark green due to the refraction of the light from the outside. The slender arm shows the natural color of ability, and there is no ornament on her hand. The lady's eyes are far away, and her vast eyes are full of poetic feelings of life. The painting on the wall behind her seems to indicate her identity; on the small plate on the table are six lychees, the shell of which has been peeled off, and the other one is placed beside the vase; two white lotus flowers are inserted on the beige vase with brown spots, one of which is in bud, the other with green yellow stamens and light green lotus house. Looking at these two groups of objects, we can see the painter's outstanding still life painting attainments. The painting was made in Hong Kong. It can be regarded as a masterpiece in terms of connotation, color and even realistic ability. Bai Lian appears in the portrait of his wife. Yu Ben, who advocates painting with "brain", does not like painting with objects at home at will. He sincerely shows his gratitude and respect for his wife, and this sincere look back is not only "image", but also aesthetic beauty. In 1989, Yu Ben, who was forced to put down his painting brush because of cataract and blindness, told Huang Dade that if he could still paint, he would also paint a portrait of his wife, which showed his deep love for his wife.

Yellow River Ferry

Love of the Yellow River painting: the Yellow River Ferry creation time: 1965 critic: Liang Zhaotang (national first-class artist, director of theory department of Guangzhou Academy of painting) the Yellow River Ferry is one of the most important works after Yu Ben returned from overseas, touring famous mountains and rivers. The main color of this work is brown yellow. The author expresses his love for the Yellow River mother through this color, which is close to the land, and thus extends to his deep feelings for the Chinese nation. In this work, the author's brushwork is very solid and thick. The color is strong and calm, and the color is brown with a touch of gold. People can really feel the author's deep love. in addition, in terms of characterization, although there are not many characters in the picture, every ferryboat and every fisherman struggling to row is full of strength. The scene depiction of the Yellow River Ferry reminds people of the endless stream of boats, and the spirit of hard work of the working people is on the paper. The power of Yuben's landscape painting lies in that it does not necessarily paint everything through the invisible expression of the visible. He absorbed the skills of Western oil painting, combined with the poetic and picturesque of Chinese painting, with one as ten artistic conception. The Yellow River Ferry is the representative of this kind of landscape painting.

Xiaoxing'anling meteorological station

Beauty of simplicity painting: Xiaoxing'anling weather station creation time: 1963 critic: Qu Guang'an (editor in chief of Guangzhou Fine Arts) Yu Ben, who has been guided by many famous foreign painters twice, has a very authentic painting style, which can not be achieved by a half way monk. Both color and painting skills show his profound basic skills and unique personal style. From the Impressionist interpretation of still life to the warm Miller style in the later period, we can see that Yu Ben's painting is broad and exquisite. learning from the most authentic western painting tradition, different from the painters studying painting in China, Yu Ben perfectly combines the style of traditional Western painting with Chinese Folk Themes. Landscape painting is the most prominent part in Yu Ben's later period. After traveling to the north and south of the river, the theme is no longer limited to the water and land cultural scenery on both sides of the Pearl River, but transformed into a more atmospheric and simple natural scenery. In this kind of landscape painting, the figure is often just a simple outline, but it becomes the finishing touch of the whole painting. Even if the characters are absent, they can still show vitality from the details. Maybe it's a lonely and warm village, maybe it's a light smoke, maybe just like this painting, with two wind vanes and a row of factories, but full of vitality. different from Chinese landscape painting, in Yu Ben's works, the nature depicted by Western oil painting has a unique style. Less ethereal, but more flexible. Just like the opening ceremony of the Olympic Games, Zhang Yimou interprets the world's civilization in a Chinese way, while Yu Ben uses western oil paintings to show the beauty of China's mountains and rivers.

Interview with posterity

Interviewee: Yu Jinshen (the third son of Yu Ben) went abroad as a migrant worker and secretly studied painting behind his father's back reporter: what was the first word that came to your mind when you recalled your father? Yu Jinshen: I admire it. My father is the person I admire most. My father was serious all his life. He taught us to be serious in both painting and life. I remember when we were children doing housework, my father told us: "wash basin, don't look at the basin surface dry, but to see the basin bottom dry." This sentence has been useful to me all my life. My father went to Canada to work and help when he was 13 years old. He deeply understood that if he wanted to succeed, he was serious. Reporter: did he go abroad to work to study painting and work study? Yu Jinshen: at that time, the tradition of Taishan people was to go out to work and earn US dollars, and then come back to marry a wife and build a big house. When my grandfather sent my father out, he was asked to follow this tradition. He didn't want him to draw at all, so he didn't think he was promising. But my father loved to draw since he was a child. Even my grandfather drew a lot of dolls in his account book. My father didn't want to make money in Canada, but went to learn to draw. My grandfather was so angry that he told his uncles and brothers in Canada not to give money to my father and cut off his source of livelihood. Finally, it was my mother who sold her jewelry to support my father in painting. My father paid his tuition in his first year of work and study, and in his second year

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