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Wu received artistic education in the Hangzhou National Arts Academy under guidance of famous painters in the early 20th century. In 1947, Wu went to Ecole Nationale Superieure des Beaux Arts of France.
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Museum in 1992, which was the first for a living Chinese artist. Wu Guanzhong introduced aspects of Western art to his students at the Central Academy of Art in Beijing. The Academy was known to have been dominated by social realism and Wu was called "a fortress of bourgeois formalism". Refusing to conform to political dogma, he was transferred from academy. At the start of the Cultural Revolution in 1966, he was banned from painting, writing and teaching, and in 1970 was sent to Hebei Province for hard labor. Wu's paintings have the color sense and formal principles of Western paintings, but a spirit and tonal variations of ink that are typically Chinese. Natural scenery is reduced to its essentials - simple but powerful abstract forms. He has had solo exhibitions in major art galleries and museums around the world, including mainland China, Hong Kong, Singapore, Tokyo, Taipei, Korea, England, and the USA. As the artist Wu Guanzhong, once said, “There is no boundary in terms of art; art belongs to the world, not to a certain nation or country.” Wu Guanzhong (吳冠中, 1919–2010) is one of the best known contemporary painters of Chinese origin. Wu has painted various aspects of China including much of its architecture, plants, animals, people, as well as many of its landscapes and waterscapes in a style reminiscent of the impressionist painters of the early 1900s. He has published collections of essays and dozens of painting albums. His paintings were exhibited at the British
Young Tibetan, 1961 Tibet female mayor, 1961
Tibetan woman, 1961 Tibetan man, 1961
During his years in France, Wu drew inspiration from such greats as Utrillo, Braque, Matisse, Paul Gauguin, Cézanne and Picasso. Nevertheless, Van Gogh was by far his greatest idol. He studied his life and greatly admired his work. Tibet cultural and educational, 1961
During his 2008 interview with CRI, Wu mentioned a letter written by Van Gogh that he had read, and which prompted him to leave France for China after Mao Zedong announced the establishment of the People's Republic. Tibet Potala Palace, 1961
In the famous letter, Van Gogh wrote to his brother: “Wheat should be grown in a place where it can grow well.“ It was this thought that inspired Wu to return home - to the place where he belonged - to live and paint there
Unfortunately, life back in China was very different from what he expected. Wu worked teaching art classes at different universities around the country. Lhasa Dragon King Lake
Sapporo wooden temporary bridge, 1961 Mountains give way
He taught students about the great Western artists, such as Cezanne, and of course Van Gogh. But it wouldn't be long before the prevailing political atmosphere made it dangerous to talk about manifestations of the corrupt Western culture. Lhasa food market, 1961
Tibetan militia, 1961 Sisters-in-law, 1961
This development was a huge blow for Wu, who from then on felt unable to teach art the way he saw it and wanted his students to see it. At the beginning of the Cultural Revolution, he was forbidden to paint, write or teach anything related to Western arts. The streets of Lhasa (b)1961
Later, as part of the re-education through labor program, Wu was separated from his family and sent to a labor camp. After two years, he was allowed to paint on the weekends. Those years constituted the most productive period of his career, when he painted numerous landscapes.. The streets of Lhasa (b)1961
Wu was also a firm believer in the test of time, saying it would show the true value of his work. Nevertheless, the artist never cared for wealth, even when his masterpieces were fetching record prices at Chinese art auctions. People's Democratic Tibet
In fact, Wu donated a set of paintings worth an estimated 53 million USD to the Singapore Art Museum. He also donated many works of art to the Hong Kong Museum of Arts. The streets of Lhasa (c)1961
Fruit plate, 1975 Corn, 1953
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