A modern painter who has an important influence on the world?

In the late 1970s, Munich briefly became a base for young Norwegian painters. These people will become great realistic painters-they include Hans heyerdahl (1857- 19 13), Katie L. Kieran (2000) and harriet Barker (harriet Barker1845-/. It has become a new center for Norwegian artists. Two other important figures, Christian Crowe (1852- 1925) and Fritz Traw (1847- 1906) also joined them here. Both of them studied under Goode in Karlsruhe in the 1970s from 65438 to 2009. Another important realistic painter, Elif Peterson (1852- 1928), went to Italy instead of Paris.

Several of these artists later chose to return to Norway. They founded the autumn art exhibition in 1882. The exhibition collects Norwegian contemporary art works funded by the public after 1884, and today these works have become the collections of the national art exhibition. At the same time, they have established a new system for artists to sell their works, which is responsible for deciding the contents of exhibitions and even selecting commissioned works of art for public institutions. Among the artists who returned to the motherland, several outstanding figures strongly opposed the values of their predecessors. Although they agree on dealing with traditions and other issues, these young artists have different attitudes and natures. There are also contradictions between the two groups of artists. A group led by Christian Clough is very radical. They tend to be individualistic and internationalist. The other school, headed by Eric Villenescheod, is more inclined to nationalism, more inclined to liberalism in politics, more fond of preaching, and has strong principles.

In his works, Willen Scheud shows simple and typical scenes in a carefully studied landscape environment. With William Saud was the new nationalist Theodore Gitel. His sketching technique is better than oil painting. The illustrations he drew for the standard edition of Norwegian folktales made an important contribution to nationalism. Other followers of William Saud include Christian Krezer Wade and Elif Peterson, who tend to emphasize the literariness and symbolism of the theme. The grand style of Peterson's historical works seems to remind people of the masterpieces of early masters. Kitty L. Kieran was one of the few painters who insisted on painting landscapes in this period. He spent most of his time creating in the fresh air of Aaron on the west coast of Norway. Jehad Monte was also a nationalist. He maintained a close relationship with the explorer and scientist Friedrich Nansen. They set up "Lysakerkretsen" to promote Norwegian nationalist values.

This association was strongly opposed by Christian Clough, the leader of Oslo liberal artists. Clough thinks that writing is as important as painting, and claims that "all national arts are not good arts, and all good arts are national arts". He insisted that the focus of art should be the life experienced by human beings. On the other hand, Fritz Tolo hopes that art only pays attention to art. He advocates that more artists should pay attention to the actual process of painting and should never try to solve social and human problems by themselves. At the same time, haret Barker distanced himself from this argument. He focused more on indoor scenes, but slightly added some abstract styles than the early nationalist painters.

Edvard munch (1863- 1944) is the most famous Norwegian painter, led by Clough. Monk hasn't received much formal training, and Clough is probably the closest he can be called a teacher. Although painting began under the influence of realism from 65438+80' s, this method of paying attention to concrete reality was soon abandoned. Monk wants to describe the essence of his characters. He said, "I want to draw a living person who can breathe, feel, suffer and care." Monk devoted himself to new trends from Europe, including late romanticism, Fauvism, Art Nouveau and Youth Art School, and added his own understanding of form, line and color. He traveled widely in Europe and produced an international style: simple scenery, abstract lines, simple coloring and strong light contrast. Monk's contemporary artists include Arne Caffrey (1878- 1970), Torval Eriksson (1868- 1939) and Halfdan Egdius (1877-). 935) and Nikolai Stroh unified various schools from 65438 to 1990, and developed the realistic atmosphere into a more abstract expression.

Chinese painting has a long history. As early as 2000 years ago, silk paintings appeared in the Warring States period, before which there were primitive rock paintings and painted pottery paintings. These early paintings laid the foundation for later Chinese paintings to take lines as the main modeling means. During the Han, Wei, Jin, Southern and Northern Dynasties, the society changed rapidly from a stable unity to a split, and the impact and integration of foreign culture and local culture made painting mainly religious, while local historical figures and literary works took a certain proportion, and landscape painting and flower-and-bird painting also sprouted at this time. At the same time, consciously grasp painting in theory and put forward evaluation criteria. During the Sui and Tang Dynasties, social economy and culture were highly prosperous, and painting also showed all-round prosperity. Landscape painting and flower-and-bird painting have matured, religious painting has reached its peak, and there has been a tendency of secularization; Portraits mainly show aristocratic life, with characters with characteristics of the times. By the Five Dynasties and the Song Dynasty, it was more mature and prosperous, figure painting had turned to depicting secular life, religious painting had gradually declined, and landscape painting and flower-and-bird painting had become the mainstream of painting. The appearance of literati painting and its development in later generations greatly enriched the creative concept and expression method of Chinese painting. During the Yuan, Ming and Qing Dynasties, ink and wash landscapes and freehand brushwork of flowers and birds got outstanding development, and literati painting became the mainstream of Chinese painting, but its last stream went to imitation, which was farther and farther away from the times and life. Since the end of 19, western artistic expressions and artistic ideas have been introduced into Chinese painting for a hundred years, and many schools, famous artists and constant reforms and innovations have emerged in the cultural environment that inherits the traditional Chinese painting.

/kloc-After the 9th century, a large number of painters gathered in Shanghai, Beijing (including Tianjin), Guangzhou and other central cities with developed politics and economy (especially commerce and culture), that is, Jiangsu and Zhejiang painters with Shanghai as the center, such as Ren Yi, Xu Gu, Wu Changshuo, Huang, Liu Haisu, Pan Tianshou, Zhu Zhan, Zhang Daqian, Fu Baoshi, Lu and so on. Northern painters with Beijing as the center, such as Qi Baishi, Jin Cheng, Jin Cheng,,, Jiang, and Li Keran. A group of Lingnan painters with Guangzhou as the center, such as Gao, Chen, He Xiangning,,, and so on. With the changes of the situation and times, painters in the above areas have also migrated. For example, during the War of Resistance against Japanese Aggression period, many painters came to the southwest. After 1949, many painters, such as Zhang Daqian, Huang Junbi and Zhao Shaoang, moved abroad and Hong Kong and Taiwan. Today, most provinces and cities in China have established painting academies. In addition to the three centers, many new centers have emerged, and the number of painters has expanded unprecedentedly.

Among the modern painters in China, many painters inherit and adhere to the basic pattern of traditional painting. They either follow the principle of imitating and inheriting the techniques and demeanor of the previous generation of painters, or try to change while inheriting the tradition and form their own style while preserving and developing the tradition. The former includes Jincheng and Gu, while the latter is represented by Qi Baishi, Huang and Pan Tianshou.

Since the May 4th New Culture Movement, with the massive introduction of western art and the deepening of the anti-feudal struggle, the reform of Chinese painting has become a new trend of the times. Represented by Gao, Liu Haisu, Xu Beihong and Lin Fengmian, who studied in Japan and Europe and America, he advocated the integration of realism of western art and creative ideas of modern western art with traditional figure painting in China, which blazed a new trail for the reform and innovation of Chinese painting and made Chinese painting glow with new vitality. Among them, Gao and other Lingnan painters advocate compromise between China and foreign countries, integration of ancient and modern, and combine Japanese painting with traditional water-rushing, powder-bumping and boneless painting to create a new style with a strong sense of the times. Xu Beihong integrated the realistic techniques of western painting into traditional pen and ink, which enriched the expressive force of Chinese painting. Lin Fengmian harmonizes China and the West, absorbs the simplicity and vitality of folk art, and forms his own unique style with far-reaching artistic conception and novel form. In addition, Chen Zhifo integrated the colors of Chinese and foreign decorative arts into the creation of meticulous flower-and-bird painting, and Zhang Daqian borrowed some techniques of western abstract expressionism to create splash-ink painting; Inspired by western paintings, Li Keran directly sketched and created scenes. Wu Guanzhong used the tool materials of Chinese painting and the forms and concepts of western modern art to express the traditional poetry and realm of Chinese painting, and made important achievements.

With the changes of the times, Chinese painting has changed from the aristocratic art of literati and nobles to the "people's art", from the ivory tower in the past to a crossroads. Chinese painting has undergone profound changes in theme and content. Painters turned their attention to social reality and created a large number of outstanding works with the characteristics of the times.

In the 1920s and 1930s, painters argued endlessly about the innovation and development of China's paintings. For example, Kang Youwei put forward the idea of "restoring ancient ways as innovation" and "combining Chinese and western styles as a new era"; Xu Beihong advocated that "those who are good at ancient laws should keep them, those who reject them should continue them, those who are not good should change them, those who are insufficient should increase them, and those who can take western paintings should be integrated"; Liu Haisu proposed to "develop the fine arts inherent in the East and study the elites of western art"; Lin Fengmian advocated "reconciling Chinese and Western arts and creating art of the times"; Chen Shiceng actively analyzed and answered the characteristics and significance of literati painting. Lin Shu, on the other hand, opposed innovation and called on people to despise "new foreign learning" and only take "ancient meaning as the Sect"; Jincheng, on the other hand, strongly advocated: "We should not forget the method of spreading sage and knowledge, and inherit the old chapter." In the late 1940s and 1950s, there was a discussion about whether sketch could be used as the basis of Chinese painting modeling, and how to treat pen and ink skills and various new Chinese paintings. In the mid-1980s, in the rapidly changing social environment of reform, opening up and modernization, how to innovate Chinese painting to meet the aesthetic needs of the times was deeply discussed in theory and practice.