Guan Liang
Guan Liang
Guan Liang (December 30, 1900 - November 28, 1986), the word Liang Gong. Born in Panyu, Guangdong Province, he went to Japan to study oil painting in 1917 and returned to China in 1923. He was a professor of Shanghai Academy of fine arts. He participated in the Northern Expedition and served as the head of the art section of the political department. From 1930s to 1940s, he worked as a teacher in art colleges in Guangzhou, Shanghai, Chongqing and other places. He also traveled to famous mountains and rivers to sketch. He was good at Chinese painting and oil painting. He was a professor of Zhejiang Academy of fine arts and a painter of Shanghai Academy of Chinese painting. He wrote a random talk on Guan Liang's art and his memoirs. Published "Guan Liang Peking Opera figure ink painting", "Guan Liang oil painting collection" and so on.
Personal resume
He entered Nanqiang public school in 1909.
In 1912, he studied in Anglican Church, Jinling middle school.
In 1917, he went to Japan with his brother, and successively joined Kawabata Research Institute to learn from Fujishima Takeji, a painter, and then transferred to "Pacific Painting Society" to learn drawing and oil painting from Mr. Nakamura Buzhe. He especially loved the western painting styles of Van Gogh and Gauguin.
He graduated from the Pacific Academy of Fine Arts in Tokyo in 1923. After returning to China, he taught in Shanghai Shenzhou women's school.
In 1924, he held an art exhibition in Ningbo fellow townspeople's Association in Shanghai, and became famous. He was employed as an art by the creation society, a well-known literary group composed of radical writers such as Guo Moruo and Yu Dafu. At the same time, he painted illustrations and cover designs for the magazine creation edited by Guo Moruo. In 1925, he was a professor of Shanghai Art Academy and Shanghai Normal University.
In 1926, he went to Guangzhou to teach in Guangzhou Fine Arts School and high school attached to Sun Yat sen University.
In 1926, he took part in the Northern Expedition and served as the chief of the art unit of the propaganda section of the General Political Department of the national revolutionary army. Besides teaching in Shanghai Academy of fine arts, he often appreciates Peking opera art, prefers to draw dramatic figures, and learns from his teachers to increase the accumulation of life in the creation of dramatic figure painting.
In 1937, he went to Kunming to teach in the National Academy of Arts. After the outbreak of the Anti Japanese War, he resigned his official post and traveled a long way to the northwest to investigate the grotto art, selling paintings for a living along the way.
In 1942, a personal painting exhibition was held in Chengdu, Sichuan Province, which aroused great repercussions in the art circle. After watching Guan Liang's Opera figure paintings, Guo Moruo thought that they were ancient and modern masterpieces, and wrote an article on Guan Liang's art to introduce and praise his painting art to the society. Mao Dun and others wrote praises for it. Later, he was a professor of Chongqing National Academy of Arts.
In 1945, he returned to Hangzhou after winning the Anti Japanese war. He has been a painter of Shanghai Chinese Academy of painting, Professor of Zhejiang Academy of fine arts, director of China Artists Association, and deputy director of Shanghai Branch of China Artists Association
In 1956, the Ministry of culture held an exhibition of Guan Liang's personal paintings in Beijing.
In 1957, he and Li Keran made a friendly visit to the German Italian Democratic Republic and held a personal painting exhibition in East Berlin. "Imzel" publishing company of Leipzig published a picture album for him. After the "Cultural Revolution", the land came back to spring, and a retrospective exhibition of Guan Liang was held in Shanghai. He has published "notes on Guan Liang's arts" and "Memoirs of Guan Liang", and his painting collections include "ink painting of Guan Liang's Peking Opera figures", "ink painting album of Guan Liang's dramatic figures" and "collection of Guan Liang's oil paintings".
Representative works
On Guan Liang's art and his memoirs
Published "Guan Liang Peking Opera figure ink painting", "Guan Liang oil painting collection" and so on;
Appreciation of works
Picture of catching and releasing Cao
In the paper, the color is 69 cm in length and 46 cm in width, with the title of "a section of caoshudian in Gengshen Spring Festival.". Panyu GuanLiang In this work, Chen Gong with a sword is dressed in a black robe, while Cao Cao, lying at his desk, is dressed in a red robe, one black and one red. The yellow table in the middle of the two people not only weakens the visual stimulation caused by too strong color contrast, but also provides space for the fusion and transition of black and red, making the picture more harmonious and unified, and making the audience more peaceful and comfortable.
Painting Qingwen's fur
Color, paper, vertical: 66 cm, horizontal: 66 cm.
Friends: Yu Juan, Yue Xi, Zheng Zhi, Qing Wen, Qiu Bingchen, Guan Liang
Seal: Guan Liangyang rixuan
This picture depicts the scene in a dream of Red Mansions in which Qingwen weaves the peacock cloak given to Baoyu by her aunt. Based on the modeling of dramatic characters, the painting does not stick to the anatomy and perspective of the characters, but portrays them vividly with exaggeration and deformation, without modification, even with the childish style of children's painting; the strokes are simple and easy, dignified and natural; the strokes are changeable. The actor's eyes such as "look", "glance", "stare" and "aim" are well captured, and the character's modality is vivid, pure and humorous.
Drawing martial arts drama
Color, paper, vertical axis, ruler: 65.5 × 45.2 cm.
Talent: martial arts drama. In the spring of 1979, it was written in duoyunxuan. GuanLiang, Panyu.
Signature: Guan Liang's martial arts drama. Old collection of duoyunxuan.
Seal: Guan Liang, Nanting
This picture of martial arts drama was written by Mr. Guan Liang in Shanghai duoyunxuan in 1979. Because Guan Liang is familiar with the plot, character modeling and figure of traditional Chinese opera, his works are very concise and vivid. The figure's modeling absorbed some characteristics of folk plastic arts, only through the body, gestures, waist and legs and other concise strokes, the dynamic characterization of the characters was lifelike. Guan Liang has a deep understanding and grasp of the inner spirit of Chinese painting. He likes to use a bald pen. His strokes are childish and innocent like a baby. His strokes are calm and calm. He does not care about the details. This is the so-called "great skill is like clumsiness". Guan Liang is well versed in three of them It's stupid. In his painting, Guan Liang used thick ink, light ink, light ink, stained ink, dry ink and wet ink. The ink was divided into five colors, which established the elegant artistic tone of the whole work. His color design is not gorgeous, just like the ink method, which focuses on the expression of brushwork and charm. This kind of work is by no means a sensational work, but a good work that is not surprising in appearance and endless in aftertaste. From his calligraphy, we can also read his introverted, quiet, bold, unobtrusive, not good at words, rich in rhyme.
artistic characteristics
Mr. Guan Liang is an indispensable master in modern Chinese painting. Perhaps he was the first to introduce the western modernist painting concept into traditional Chinese ink painting, and created a unique dramatic figure painting, which enjoys a high reputation at home and abroad;
Like a child's painting
I don't know how many times I've heard people question what's good about Guan Liang's paintings, just like children's paintings. This question is very difficult to answer. Some say that many people say yes! Even Guo Moruo, Mao Dun, Lao She and other great literary experts have inscribed paintings for him. They say yes! Qi Baishi, Huang Binhong, Pan Tianshou and other great painters all share their paintings with him! If the Chinese don't count, and if the Germans take the initiative to publish a collection of paintings for him and pay rich remuneration, only Qi Baishi and Guan Liang are Chinese painters. You dare say no! Some people simply say that it's good to be famous and valuable! In fact, these statements only tell us the result of the painting, but the good thing is that they don't know much about it. Or does the question itself give the answer? Fortunately, it's like the child's painting.
This is not a disgusting fake child like "Lao laizi entertaining his relatives", but an infatuation with art. It can be said that Guan Liang's paintings are made by playing. At the age of 17, he went to Japan with his second brother. Instead of studying chemical engineering, he applied to study fine arts, which is fun but has little job opportunities. Later, I learned painting from Takeji Fujishima, and I learned violin after class. Of course, it's not for grade examination, it's just for fun. "Eighty at the age of three" is true. When Guan Liang was a child in Nanjing, he loved to watch Peking Opera in the "Guangdong and Guangxi Guildhall", which doomed him to play and paint Peking Opera all his life. They are not ordinary fans, but they learn from their teachers, buy back their beards, horsewhip and boots, raise their voice and set up Gongjia to be true. Naturally, there is a big difference between drawing Peking Opera in this way and taking a few stills with a camera. Either do not play, play well, in-depth among them, to find out is Guan Liang's attitude. His oil paintings are influenced by modernism, not only in technique and form, but also in theory and concept. He said: "if we had known the theory and modern spirit of modern painting, we would never have misunderstood and abused modern art at that time. A painter should be well educated, especially now, otherwise he is a craftsman. " This is a mild criticism of the great painter who cursed modern art. Guan Liang is such a well-educated man who is totally immersed in the art world. What he shows in his paintings is the sum of all his education.
In the precarious and dangerous Chinese society, when most painters pursue the instrumental art to achieve a certain purpose, Guan Liang's attitude of "art for art" should be questioned. In 1934, his two oil paintings in Guangzhou Art Exhibition were criticized: "seaside" is a portrayal and ideal of leisure life. Mother and son is an impression of personal life. It lacks the sense of the times, sees no starving people on the roadside, and hears no imperialist gunfire. Just shut up in an isolated studio and live a dream life. I don't know if Guan Liang has read Lu Xun's letter to Li Hua. Lu Xun's opinions are not biblical, but they can help us understand Guan Liang's choice. "Now many people think that they should show the hardship and fighting of the people, which is naturally not bad. But if they are not in such a whirlpool, they can't show it. If they do it with their own will, they will never be true, profound or artistic. So my opinion is that an artist only needs to perform
Chinese PinYin : Guan Liang
Guan Liang
