The Centennial Celebration of the Central Academy of Fine Arts, sponsored by the Central Academy of Fine Arts and organized by the Central Academy of Fine Arts, “Following the Times-The Centennial Academy Fine Arts Exhibition of the Central Academy of Fine Arts” was exhibited on the second floor of the Central Academy of Fine Arts Museum on March 22, 2018. Kicked off.
This exhibition will display more than 140 classic works such as Chinese paintings, oil paintings, prints, sculptures, etc. Based on the collection of the Central Academy of Fine Arts Museum, selected 100 years of history of the Academy of Fine Arts, from Peiping Art College, Yanan Luyi to the new The representative works created by the teachers and students of Central America during various periods such as the founding of China aim to show the visual art form of the spirit of the most revolutionary era in the 20th century by combing the history of art creation of the Central Academy of Fine Arts, and to glimpse the history of Chinese art development in the 20th century. , Showing the unique temperament of the Central Academy of Fine Arts in the development of a century.
The 20th century is a world-wide century, with unprecedented changes in its era. China is also at the core of the fusion in this era. Its political, economic, and cultural changes have never been seen before, and new models of artistic creation and art education constitute a new visual system. This is the century of Chinese art history. A history of change and innovation in the new visual arts.
“Working with the Times-The Centennial School Fine Art Exhibition of the Central Academy of Fine Arts” shows the works of centennial school mate walking with the times, vividly recording and interpreting the nodes of the 20th century’s historical changes and the humanistic spirit. The foreword of the exhibition mentioned that “in the course of a century-long history, the Central Academy of Fine Arts has created a large number of artistic masters, created a large number of artistic classics, reflects the fine academic tradition that goes with the times and is people-centered, and reflects a firm cultural ideal. The pursuit of excellent academic style of artistic quality has set a benchmark for the development of Chinese fine arts, and has also produced a wide range of social influences. “From another dimension, it shows the relationship between the Central Academy of Fine Arts and the history of Chinese fine art in the 20th century, and Chinese modern fine arts..
Today, the Central Academy of Fine Arts ushers in a centennial celebration. It takes the centennial axis as a series of time imprints of artistic creation. To a certain extent, it is the epitome of Chinese art in the 20th century. Inseparable.
Therefore, the carding of the history of the Central Academy of Fine Arts is also a carding of the history of Chinese art in the 20th century. Based on this, on the occasion of the Centennial Celebration of the Central Academy of Fine Arts, the Central Academy of Fine Arts planned and organized the “Following the Times-The Centennial Academy Fine Arts Exhibition of the Central Academy of Fine Arts”. The main line, based on the century, briefly presents the masterpieces hidden in different periods, with a view to showing the interactive relationship between art and society in each period, and art and the times. The historical role played by the Central Academy of Fine Arts in it is fulfilled from another dimension. The relationship between the Central Academy of Fine Arts and the history of Chinese art in the 20th century and the history of modern Chinese art education.
Through such a preliminary framework, the “Following the Times-Centennial Fine Arts Exhibition of the Central Academy of Fine Arts” reveals to us the leadership of the Central Academy of Fine Arts in teaching ideas, artistic creation, social impact, and international exchanges. As a model and a symbol of the development of higher education in China, the Central Academy of Fine Arts has created many wonderful chapters in the history of Chinese modern art.
This exhibition also received the support of units and individuals such as the National Museum of China, the National Art Museum of China, and the Beijing Art Academy. Many classic works collected in different institutions were returned to the alma mater exhibition.
“Going with the times” is an important commemorative event during the centennial celebration of the Central Academy of Fine Arts. Each piece contains the enthusiasm of the Academy of Fine Arts and the unremitting pursuit of art. This exhibition is not only a review of the Central Academy of Fine Arts’ centennial The solid footprint is also a display of the century-old style of the people in the Academy of Fine Arts with works.
Zheng Jin (1883-1959) Zheng Jin graduated from the Kyoto Municipal Arts and Crafts School. He is the first person to study painting in Japan in modern China. After returning to China, he devoted himself to art education and became the first principal of the National Beijing Academy of Fine Arts.
“Magnolia Peacock” is a painting created by Zheng Jin during his teaching at the National Beijing Academy of Fine Arts. The title “Mrs. Luo Tai, Seven Ranks and Five Prosperities” was painted by Zheng Jin for her aunt ’s birthday. Use the pen to work neatly, and see the exquisite technique in the complexity. The peacock is gorgeous, and the magnolia is elegant. The two contrast each other. The vitality of the peacock and magnolia blooms. Zheng Jin’s early works represented the extremely high artistic achievements of the students studying in Japan at that time.
Zhang Anzhi (1911-1990) was admitted to the Art Education Department of Central University in 1928. He studied Western painting with Xu Beihong, and took courses such as Lu Fengzi’s Chinese painting course and Zong Baihuahua learning course. He has a solid foundation in western painting and profound aesthetic cultivation. In 1946, he went to the United Kingdom to study and study. From 1950 to the 1960s, he taught in the Fine Arts Department of Beijing Normal University, the Fine Arts Department of Beijing Normal University of Fine Arts, and the Central Academy of Fine Arts.
Qunli, created in 1936, participated in the first annual exhibition of the China Art Association and was one of Zhang Anzhi’s famous works. It depicts the workers pushing and pulling the mining cart uphill. The struggle of life is manifested in the dynamic arms of the miners, which not only shows the suffering and struggle of the people, but also shows that the miners have a strong will that can’t be conquered by any force. Those sweating and working together in the strong sunlight reflect the painter’s concern about the real social situation. Zhang Anzhi’s grasp of such large-scale oil painting works and wonderful portrayals of the characters attracted widespread attention in the Chinese painting circle at that time, which was of great significance for the times.
Li Hua (1907-1994), a well-known printmaker, art educator, a great pioneer of the emerging woodcut movement, and the founder of China’s modern printmaking career. Li Hua’s artistic pursuit and ideology are closely connected with the development of modern Chinese society. With all his energy, he devoted himself to the torrent of the times.In his youth, he actively engaged in the emerging woodcut movement with the mission of saving the dead. As a 35-year-old, Xu Beihong was hailed as the “older generation” in the woodcut world. And art theory research; in his later years he served as the chairman of the China Printmakers Association, leading the printmaking industry to carry out various pioneering work.
“Roar! China was created in 1935 and is reprinted by many newspapers and magazines of the time. This work uses a symbolic approach, with a tortured and humiliated man’s body that is tightly bound and blindfolded, heralding the unbearable choice of a nation to grow up and roar and fight, symbolizing the misery of the Chinese nation under the oppression of the powers fate. From this work, we can not only see the author’s sturdy and cheerful style and painstaking management, but also his efforts in the nationalization of woodcuts. The work has a strong visual impact and is one of the masterpieces of emerging woodcuts in the 1930s.
Lin Fengmian (1900-1991) was born in Meizhou, Guangdong. In 1921, he graduated from the National Academy of Fine Arts in Paris. In 1926, he was the principal and professor of the National Peiping Academy of Fine Arts. He invited Qi Baishi and French painter Claudot to give lectures at the school. He advocated the art “to cross the street” and is dedicated to Chinese painting. Modern development. On May 11, 1927, the “Beijing Art Conference” was initiated and organized at the Peiping Art College. This was the first ever unprecedented comprehensive art fair in China’s modern history, and a national aesthetic education movement.
“Female Bust” was created in the 1940s and is a work of Lin Fengmian’s middle age. He absorbed the brushwork in Chinese folk painting, and used bright, bright inks to outline his favorite stage figures. He did not change the consistent and elegant characteristics of his ink paintings, but also had a restrained silence and solitude.
“Send Charcoal in the Snow”
Ai Zhongxin (1915-2003) was admitted to the Department of Fine Arts, School of Education, Nanjing Central University in 1936, and graduated in 1940 as a teaching assistant. In 1942, he was the assistant professor of Xu Beihong. In 1946, he was hired by Xu Beihong as an associate professor of the National Peiping Art College and joined the Peiping Fine Art Writers Association. Since the founding of the People’s Republic of China, he has served as a professor of the Central Academy of Fine Arts, director of the oil painting department, and vice president.
“Send Charcoal in the Snow”, written in 1946, is one of the representative works of the author in his early career. This year the author came to Peiping with his teacher Xu Beihong, and Xuejing became an important subject of his painting. The painting depicts the current Dongdan Square. The coal delivery man is advancing hard in the snow. The tone of the pen is deep and the atmosphere. The vastness and coldness of the winter snow in the north extend from the painting to the outside. In the realistic style, it is vivid and touching, and it seems to have a “poem in the painting”. Mr. Li Keran once evaluated his snowscape works as “Chinese oil brush ink”.
Central Academy of Fine Arts
The Central Academy of Fine Arts, referred to as “CAFA”, was born in 1918. It was first named the National Beijing Academy of Fine Arts, the first national art education institution in Chinese history, and the beginning of modern art education in China. CAFA gave birth to the earliest art system in China and created the earliest university disciplines in calligraphy, modeling, design, architecture, and humanities in China. It is the founder of higher education in Chinese art since modern times.
The Central Academy of Fine Arts was founded in 1918 and was a national Beijing art school initiated by Mr. Cai Yuanpei. In 1927, it was renamed the School of Art of Peiping University. In 1934, it was restored to the National Peiping Academy of Fine Arts. “In November 1949, the National Peiping Art College merged with the three Art Departments of North China University. The predecessor of the three Art Departments of North China University was the Art Department of Yan’an Lu Xun Academy of Art, founded in 1938. With the approval of the Central People’s Government, the National Academy of Fine Arts was established. In January 1950, it was officially named the Central Academy of Fine Arts.
The Central Academy of Fine Arts is the only high school of fine arts directly under the Ministry of Education of the People’s Republic of China. Programs, Chinese government scholarships for foreign students in China, receiving universities and the first batch of Ministry of Education demonstration bases for studying in China.