Chronology of Feng Fasi

From 65438 to 0920, Feng Fasi entered the primary school affiliated to Jiangsu No.4 Normal University at the age of 6, and he loved art very much, which won the appreciation of teachers and classmates. 65438-0928 received a good art basic education in Nanjing No.1 Middle School. Under the guidance of Zhou, Feng Xiaoru, I studied plaster statues, landscape paintings and still life paintings, and made imaginative paintings. 1933 was admitted to the Art Department of the School of Education of Nanjing Central University. This year's western painting class was only accepted. He studied oil painting under Xu Beihong and Yan. Mr. Xu Beihong and Mr. Yan studied in France in their early years and inherited the tradition of realistic painting in Europe at the end of the 9th century and the beginning of the 20th century. From 65438 to 0934, Feng Fasi directly received the basic sketch training from Mr. Xu Beihong. Charcoal sketches from that period, such as Greek reliefs offering sacrifices to gods, Dionysus, etc. As well as male nude exercises made of carbon essence, we can see his understanding of Mr. Xu Beihong's teaching, his in-depth study of the body structure in the picture and his grasp of light and shade.

1936 In the spring, Feng Fasi went to Yandang Mountain and Putuo Mountain with Mr. Lv Sibai to sketch and created the oil painting Yandang Mountain. This work participated in the 1943 Soviet China Art Exhibition, and Soviet critics fully affirmed the traditional characteristics and styles of Chinese painting reflected in the composition and color of the work.

1935 Feng Fasi participated in 12? Student movement, began to read progressive books and periodicals, exhibited Chinese and foreign literary masterpieces, and established their own world view and artistic view.

1August, 936, Feng Fasi participated in the "Nanjing Federation of Students" led by the underground organization of China * * * production party.

From 65438 to 0937, Feng Fasi graduated from CUHK with a bachelor's degree.

In the same year, the July 7th Incident shocked China and foreign countries, and War of Resistance against Japanese Aggression broke out. Feng Fasi, 23, took an active part in the anti-Japanese movement. In August, Feng Fasi came to Yunyang Town, Sanyuan County, Shaanxi Province to join the Chinese Red Army of Workers and Peasants, went north to fight against Japan with Commander-in-Chief Zhu De, and engaged in anti-Japanese propaganda work in the Propaganda Department of the Eighth Route Army General Political Department.

1938, with the consent of the army, he left the front line and came to Wuhan to participate in the "Beijing Pingjin Students' Salvation Propaganda Group". Soon, he took part in the "Three Pavilions" work of the Political Department of the Military Commission led by Zhou Enlai and Guo Moruo, and created a large-scale gouache "Xing Ping Guan Street" and some cartoons and anti-Japanese propaganda posters.

In August of the same year, he returned to northern Shaanxi, studied and graduated from Lu Xun College of Literature and Art in Yan 'an under the pen name "Luo Feng".

/kloc-in the winter of 0/940, Feng Fasi went to Liuzhou, Guangxi, participated in the first anti-Japanese drama team (later changed to the fourth team) led by Zhou Enlai, and made a lot of sketches and sketches.

194 1 year, followed the Fourth Troupe, marched thousands of miles to more than ten counties, led the team of artists along the way, painted dozens of murals, and publicized the war of resistance. After arriving in Jingxi, Feng Fasi created an oil painting portrait "The Old Lady in Jingxi", and the painter paid attention to an ordinary old woman at the bottom of society. The work reveals the persistence and seriousness of the painter's painting and the simplicity of the old woman. Feng Fasi recalled: In order to draw this painting, the old woman specially put on her own lace clothes knitted and dyed at home, sat up straight and let the painter draw. This important portrait oil painting of China's early days was appreciated by Xu Beihong. After seeing his sketches of the Anti-Japanese War, he hired Feng Fasi as an associate researcher in China Academy of Art, and encouraged him to continue to engage in anti-Japanese propaganda in the anti-Japanese drama team and create works reflecting the times.

From 65438 to 0945, Feng Fasi began to create an oil painting "Catching Lice" in Lunan Middle School, which was based on the sketch conceived in "Life on the Front Line between China and Myanmar".

1946 After this oil painting reflecting the hard life of China soldiers during the Anti-Japanese War was exhibited, Mr. Wen Yiduo praised the oil painting "Catching lice" as a rare realistic masterpiece during the Anti-Japanese War. In June of the same year, in Chongqing, Feng Fasi took all the sketches of the Anti-Japanese War to participate in the "Art Information Exhibition for Eight Years of the Anti-Japanese War" organized by the Fourth Theater Team. Xu Beihong commented on his works in this way: the moving scenes before and after are described by the method of marching in a hurry, and the theme is novel and profound, and the latter is particularly important. If it is not profound, it will lose the most valuable truth and become meaningless. Feng Jun was able to grasp the theme and write to the extreme, painting with ethics, which was a valuable gain in the Anti-Japanese War.

In the hard years of war, Mr. Feng Fasi explored and sought to form his profound, intense, vivid and concise artistic style by concise and general methods in his artistic creation.

65438-0946, Feng Fasi was employed as an associate professor of Beiping National Art College to assist Xu Beihong in teaching.

From 65438 to 0948, Li Hua, a famous printmaker, went to live in a small coal mine in the west of Beijing and created many paintings of miners. Create a large-scale oil painting "Morning Meeting of Drama Team" and join the producer of China.

From 65438 to 0948, Feng Fasi completed the large-scale oil painting "Parade against Hunger and Civil War" and participated in the "First National Art Exhibition" in New China with this painting.

From 65438 to 0950, Feng Fasi went to the suburbs of Beijing to participate in the "land reform movement" and created a large-scale oil painting "Complaining Meeting".

The theme and characters of "Complaining Meeting" are based on life, with many characters, full composition and no congestion, and calm and loud colors. The picture is composed of a large area of gray, and the khaki back and white headscarf of the young farmers inserted in the center of the picture contrast with the young women wearing red cotton-padded jackets, which makes the works reveal a new flavor of the times in the depression and present a new mental outlook generated by the liberated farmers. The "old man", the central figure of "complaining", stood on the table and complained angrily. Several farmers were afraid that he could not stand on the table, so they hurried forward to hold his legs. Such details are beyond the imagination of those who have experienced this situation first hand. Mr. Feng pointed to the words on the screen and could tell whose painting it was. Complaining is a successful example of new China oil painters trying to create thematic works and composition of big scenes in the early days of the founding of the People's Republic of China.

1950 In September, the Central Academy of Fine Arts was established, with Xu Beihong as the first dean and Feng Fasi as professor, head of painting department and head of oil painting department.

1954, Feng Fasi went deep into life in Yunzhou West Village, Wenshui County, Shanxi Province, collected the deeds of the heroine Liu Hulan, and began to conceive and create a huge oil painting "Liu Hulan is dead".

From 65438 to 0955, Feng Fasi participated in the oil painting training class directed by Soviet painter Maksimov and served as the monitor. The oil painting training class brought together a group of the most creative oil painters in China at that time, who will become the backbone of oil painting creation and teaching in new China in the future. In the "oil painting training class", on the one hand, Feng Fasi has done a lot of organizational work, and at the same time, he has seriously absorbed the solid performance skills of Russian realistic painting. He once wrote an article "Learning from the advanced experience of Soviet experts in creating profound teaching" in Art magazine, and created oil paintings such as Painter of the Old Country and Girl in the Sun.

During the period of 1957, Feng Fasi completed his theme creation-the giant oil painting "Liu Hulan is dead", which indicates that China oil painters have entered a mature stage in their exploration of controlling large-scale works.

Liu Hulan's Dying has many characters and magnificent scenes. The noisy peasant masses and villains constitute two aspects of the picture conflict. Among the two groups of dynamic figures, the triangle combination of Liu Hulan in black cotton-padded clothes and bandits on both sides, such as "the anchor of the sea", has become the most stable factor in the picture composition and the soul of the picture. Her head forms the visual center of the picture against the rags.

The dark sky, white snow and gray peasant groups surrounded the villains. The yellow uniform of the bandit troops forms a strong visual contrast with the dark color of the peasants. The color of Liu Hulan's head and neck becomes the most eye-catching part of the picture against the background of black and gray.

Hugging Liu Hulan's mother and sister is the most vivid part of the painting. Their postures and expressions contrast and echo with Liu Hulan's calmness when he looks back, which makes the main characters and the people around him form a whole.

"Liu Hulan is Dead" is finished in realistic colors, which is rare in China's oil painting creation at that time, and requires the painter's considerable exploration courage and superb skills. Feng Fasi's pioneering efforts in this work still inspire future generations. This work is now in the China Art Museum. Together with Jiang's masterpiece "The Refugee Map", it is called "Double Gem" by people in China Art Museum.

From 65438 to 0957, while Feng Fasi's painting art was maturing, he was wrongly classified as "Rightist" and expelled from the Party, which seriously affected his artistic creation and teaching. From 1957 to the end of the Cultural Revolution, Feng Fasi was in adversity for 20 years. Facing the reality, Feng Fasi solved the national tragedy and personal suffering in his persistent pursuit of art, and created a series of oil paintings in his work and teaching.

From 65438 to 0963, Feng Fasi went to Yongji, Hunyuan and other places in Shanxi Province to collect materials for the oil painting Longkou Grab Grain, and created many works, such as Girl Cutting Grass, Little Girl Picking Ears, Three Girls Pushing Grain, Boy in the Rye, etc. Oil painting characters are drawn in the external light, and they are perfectly represented here. Through the works, the painter's deep love for the workers is reflected.

1In the autumn of 977, the "Cultural Revolution" just ended, and many problems remained unsolved. Looking forward to and waiting for the change of the times, Feng Fasi went to Rongcheng, Shandong Province to sketch, and made many oil paintings, such as Waves on a Mountain, Waves, Longxu Island, Lidao Beach, Lidao Fishing Village, Hanging Net and Tugboat. In his works, Feng Fasi expresses his thoughts on social change and personal destiny through bright external colors.

1979, Feng Fasi was rehabilitated, resumed his party membership, transferred back to the Central Academy of Fine Arts to teach, and resumed his position as head of the oil painting department. The turning point of personal fate inspired Feng Fasi to devote himself to the new artistic pursuit with great enthusiasm. In the past few years, he painted and lectured, and went to Heilongjiang in the north and Xishuangbanna in Yunnan in the south, where he painted many landscapes and figures, such as Yin Qing in Emei, Xishuangbanna girls in festivals, Dai girls and Dai girls carrying water. A huge oil painting "Changbai Mountain Heaven and Earth" based on sketch was exhibited in Jilin Hall of the Great Hall of the People.

1984 In the autumn, Mr. Feng Fasi went to Paris International Art City. Mr. Lv Xia, a French painter living in China, had an artistic investigation and exchange with the first China oil painter who entered the "Studio" during the establishment of "Mr. and Mrs. Lu's Studio".

1985 The oil painting "Feng Fasi Massacre on Shia Island" by French romantic painter Delacroix was copied in the Louvre (partially). This copy work strictly adheres to the essence of Delacroix's original work in composition, character modeling and color; The brushwork, inner bearing and style reflect Feng Fasi's personality. In the process of painting, people from all over the world who visited the Louvre kept stopping and spoke highly of this excellent copy. This kind of copying reflects Feng Fasi's emphasis on understanding, not superficial description, and his practice of "those who are good at the ancient law should follow it, those who are bad at it should continue it, those who are not good at it should change it, those who are not good at it should add it, and those who can adopt western paintings should integrate it" advocated by Xu Beihong.

After returning home, Feng Fasi began to conceive a large-scale oil painting "Nanjing Massacre" while giving lectures and painting. 1992 65438+ 10 cooperated with student Shen Shengqiu to complete the large-scale historical oil painting "Nanjing Massacre" and participated in the "20th Century China Art Exhibition" held by China Art Museum.

During the period of 1998, Professor Feng Fasi's painting exhibition was held in Beijing, and the launching ceremony of the publication of the large-scale album "Feng Fasi Painting Collection" was held.

1999 was invited to hold "Professor Feng Fasi's Sketch and Some Oil Paintings Exhibition".

He died in Beijing at the age of 95 on the evening of July 16 19: 35, 2009.