An invitation to realist painting – reading ancient palm oil paintings
On April 15, 2008, at the Russian Gallery in Beijing, the "Ancient Palm Painting Exhibition", which integrates modern Chinese thought and Russian realism, was opened. Gu Brown studied at the Repin Academy of Fine Arts for 5 years and obtained a master's degree, and was taught by Melnikov, the most outstanding contemporary realist master. This exhibition is an invitation issued by Gu Brown in the name of realist painting, which is not only a concentrated display of Gu Palm's personal painting achievements, but also an exchange with contemporary Chinese oil painters and contemporary realist paintings, and a dialogue with painting lovers.
Gu Brown said that after so many years, there is not only the accumulation of Russian realist painting style, but also the precipitation of the connotation of national culture as a Chinese painter, through this exhibition, I hope you can see the works he has explored and created over the years, and also hope to work with you to ** a new way of realistic painting with Chinese characteristics. Although it is a solo exhibition, he values more as an opportunity for exchange and dialogue.
More than 50 works from various periods of ancient brown are exhibited this time. In Gu Palm's oil paintings, realism is everywhere. In the early 90s, Gu Brown went to the Repin Academy of Fine Arts in Russia, which is the world's highest level of realist oil painting teaching, and his five years of study not only enabled him to get the best training in oil painting skills, but also completed Gu Brown's stereotype of realist painting style. There, the intellectual curiosity occupied the whole body and mind of Gu Brown, and it was in this intellectual mood that he completed a series of works that now seem to be extremely rigorous, especially in these works, the human body and portraits expressed in multiple tones are the most outstanding, blue tones, red tones, green tones of the human body, blue tones of Russian girls, green tones of portraits of young girls, The female busts in red tones, although they are boldly experimenting with different color sensations, are very regular, whether it is the composition of the double body picture, the combination of colors in the works of different tones strictly follow the principle of harmony in the Russian painting tradition. During the Russian period, Gu Brown still had a number of landscape works worth savoring, such as "Church in the Wind" and "On the Neva River", which were painted more freely and openly, and expressed the unique scenery of Russia very accurately.
Church of Vilhoturije, 2018).
From the late 90s to around 2000 of the last century, Gu Brown created a number of landscape works represented by Taer Temple and other scenery in the northwest. After returning to China, Gu Brown urgently needed to find a new subject for creation, because he realized that he could not always use Russian landscapes in his paintings, after all, they were foreign, they could not become local, nor could they become their own painting characteristics, and only by finding their own language of expression and swimming in the ocean of their own thoughts could they complete the breakthrough. After graduating from Russia, he also had a strong creative impulse, so with this impulse, Gu Brown walked into **, Qinghai and other places more than once, while collecting style, while creating, some works were created after he returned to the studio, and finally Taer Temple and Snow Mountain entered his picture. Gu Brown does not emphasize the concept or symbol consciousness in the painting, he only strengthens with his hope to innovate the idea, the Taer Temple series of works or far-reaching, or close-up, the color is bright and heavy, the technique is still a continuation of the realistic realistic technique, but obviously in the use of brushstrokes with a little more color block matching, more prominent in the northwest, especially on the Qinghai-Tibet Plateau with a sense of momentum and solemn charm.
Taal Temple Square, 2008.
Taal Monastery Monk's Room, 2001.
In Gu Brown's works, there is also a group of Jiangnan water town scenery that is very attractive. Gu Brown is a native of northern Jiangsu, he said that there is a Spring Festival one year, he came to a water town alone, a little tariff, a small shop not only accepted his only festival guests, but also provides three meals a day, although light, but let Gu Brown live in these days completely relaxed mood, in the scenery of his hometown, he tasted a faint feeling of birth, quiet and distant water town and Gu Brown pure heart and temperament completely coincided, at this time his creation is completely the flow of the mind. In this group of water towns, it is not as unified as the Taer Temple series, but in the style, style, and brushwork are not the same, some of them should be pictographic, completely reproducing the humanities of the water towns: some have the sense of swaying pen and ink, the pursuit of charm, but they are all an expression of mood, revealing very natural. This group of paintings naturally has an additional touching power.
(Wen Gao Wenning).
Oil painting landscape appreciation
Clouds on Long, 2017.
Chazi in the Rain, 2016.
Hongcun People, 2010.
Hometown, 2015.
Shanxi Guangsheng Temple, 2015.
High Chair Ancient Village Lake Pond", 2001.
High Chair Ancient Village, 2006.
Ganzi Bamei Grassland, 2019.
Daddy's Ocean, 2008.
The Red Mansion of Beijing Normal University, 2006.
Anhui Hucun People" 2016.
Sky, 2008.
Peking University Lotus Pond, 2010.
The Man in the Monastery of Taal 2001.
Appreciation of oil painting still life
Plaster Statue with Dried Flowers, 2016.
Plaster Statue with Trumpet, 2018.
Tang Ma and the Flute, 2015.
Horse Lanterns and Dried Flowers" 2019.
Flowers and Sculpture, 1999.
Plaster Head, 1995.
Still Life with Plaster Statue, 2011.
Oil painting figure appreciation
The Girl Who Picked Peanuts 2020.
Anhui Lad" 2020.
Ukrainian Girl Lilia 2016.
Gannan's Morning, 2005.
Female Graduate Students of Normal University, 2010.
"Life, Walking in Landscape Painting".
Sketching in nature allows us to understand the way of human existence, and record the relationship between our own mentality and the natural environment through our brushes. As our creators get older and more experienced, we are able to gain a deeper understanding of the world in front of us.
On December 7, 1958, I was born in the compound of Nanjing Military Academy, my parents were from Jiangnan, my father participated in revolutionary work at a very young age, he studied calligraphy and engraving, and he had many friends who could write and draw. During the Cultural Revolution, he went to an old furniture store and bought a lot of old furniture with style to put at home, and I think this had an impact on me. In 1975, when my mother was working at Peking University, she introduced me to the Jingshan Children's Palace in Beijing through an acquaintance to study art. At the Jingshan Children's Palace in Beijing, I began to study the art of painting more systematically. There, through the lectures of Mr. Zhang Wenxin and Mr. Zhuang Yan, I came into contact with the art of Russian oil painting, and learned about the sketching system of Repin, Surikov and Chischakov, and I made up my mind to become an academic painter and dedicate myself to art. In July 1985, I was admitted to the Oil Painting Advanced Course of the Fine Arts Department of the People's Liberation Army Academy of Arts, which was a training course for the army to cultivate art creative talents, with a period of two years. The so-called academic painter must have a good basic skill cultivation and a strong academic theoretical research spirit.
In January 1992, I boarded a train heading north into snow-covered Russia. After a two-day break in Moscow, we continued north and finally arrived at St. Petersburg, the holy city of art that I had been dreaming about day and night. The water, the buildings and the art come together in a wonderful way.
Ganzi Bamei Grassland, 2019.
I first arrived there for eight months of language study, and then I entered the Repin Academy of Fine Arts on the recommendation of Mr. and Mrs. Shao Dazhen of the **Academy of Fine Arts, and studied in the Menilkov mural painting studio.
In the fifties and sixties, the Chinese students of the Repin Academy of Fine Arts are now senior experts and consultants of China's higher art academies, so the influence of the Repin Academy of Fine Arts in China's art world is very large, and my mentor, Mr. Menierkov, has come to China twice to give lectures, once in the fifties and once in the nineties of the last century, he is very fond of Chinese art and very friendly to the Chinese. In recent years, China has published a lot of albums and articles introducing his works, so his influence on the Chinese art world has increased unabated, many people love and are studying his art works, as his student should add glory to him, work harder to integrate Chinese and Western art, learn from each other's strengths, not only humbly learn the good things of others, but also confidently carry forward the traditions of my own nation. After five years of hard work, in the summer of 1996, I graduated with honors and received my master's degree. My graduation work "Landscape of China" is in the banquet hall of the Consulate General of the People's Republic of China in St. Petersburg. In October 1996, after five years of studying abroad, I was about to return to China, and I had an indescribable melancholy in my heart, perhaps because of my attachment to the beautiful scenery of St. Petersburg. In 1998, I painted a number of memories of my life in Russia, such as "Impression of the Neva River", "Church in Autumn", "Church in Summer", "Church in the Forest", etc. In 2001, Cheng Xiangjun, a teacher from Tsinghua Academy of Fine Arts, and I went to Labrang Monastery in southern Gansu Province to sketch, and I found the feeling of being sunny in RussiaThe representative works of that period include "Labrang Temple Square", "Labrang Temple Lawn", "Overlooking Labrang Temple", "Debate Platform", "Bazaar", "Horse Girl" and so on.
A Church in the Woods, 2000.
Bazaar, 2002.
In the early summer of 2002, I drove back to my hometown in Taixing, Jiangsu Province, and came across a few ordinary transport boats in the canal along the Yangtze River. Getting off the bus and coming to the edge of the canal, I looked forward against the sun, for the 40-year-old me, I had an inexplicable feeling, how much like the journey of life!We sail to the distance from every foothold, hoping for a better future, and the fork in the road of life is often placed in front of usOr to the right?It's up to us to judge. We can't stop because of too many gains and losses, we need a spirit of responsibility and self-confidence, "choose this, you can't take care of that" This is my life experience, for everyone life has limitations, with this kind of life experience, I have a different impulse to this canal theme with several "simple" transport ships, and painted three oil paintings in the "Far Away" series in one month.
This is the first time since I returned to China that I have combined the Western oil painting techniques I have learned with the spirit of Chinese painting. My teacher, Professor Melnikov of the Repin Academy of Fine Arts, Honored Artist of the Russian People, often said: "Without nationality, there is no universality." "As a Chinese oil painting artist, it is my duty to do this practical work of integrating Chinese and Western art. In the creation of the oil painting "To the Distance", I try to pay attention to freehand brushwork and use the brush freelyIn terms of artistic conception, pay attention to ethereal, far-reaching, unpredictable, and bring a hazy emotion to us, which we need to choose to face. In addition, some embankments and grasses are depicted in a realistic way in the near part of the picture, using the language of the times to distinguish them from tradition.
This kind of ethereal and hazy emotions originating from today's real life, with the help of traditional landscape paintings, and the psychology of speculation about future life, is the center of my oil painting creation. Of course, each work will be read by the reader with his own experience and resonance, and the creator of the oil painting cannot force every audience to read his heart.
It has been many years since I returned to China, and I always remind myself that I want to go to the last century.
The tassel predecessors of the fifties and sixties learned!Draw more!Experience more!We will share the experience and understanding accumulated through the efforts of creation and teaching over the years with the public and peersMr. Shao Dazhen said it well: "The reason why art is considered a kind of creation is precisely because it comes from the artist's mind to respond to objective nature, rather than indifferent copying and depiction." The attitude and method of response determine the style and taste of their creation. The talent of each artist cannot be self-selected, but the acquired efforts can change the character and quality of art, so artists need rich life practice and artistic practice.
(Wen Gu Brown).
A glimpse of art
Gu Brown was awarded the "Knight of the Order of the East".
Donated works to People's Daily Online's "Walking the New Silk Road" activity.
Interviewed by People's Daily Online.
He was awarded an honorary professor at the Repin Academy of Fine Arts in Russia.
The scene of the ancient brown solo exhibition of Mei Lanfang Memorial Hall.
Led students to sketch in Anhui Province with colleagues from the department.
He hosted the International Forum on Art and Design Education at Beijing Normal University.
Professor Gu Brown is creating.
*: Kyoshi Art Museum).
About the Artist
Ancient brownBorn in 1958. Professor of the School of Art and Media, Beijing Normal University, doctoral supervisor, former director of the Department of Art and Design. He is a member of the Chinese Artists Association and a member of the Russian Research Center of the Regional and National Research Cultivation Base of the Ministry of Education. Vice President of the Artists Association of the European and American Returned Scholars Association, Deputy Secretary-General of the Overseas Chinese Branch, Director of the Sino-Russian Friendship Association, Member of the Beijing Artists Association, Director of the Beijing Oil Painting Society.
From 1992 to 1996, he studied at the Repin Academy of Fine Arts in Russia and received a master's degree and was awarded the title of artist. In 2006, he was transferred to the School of Art and Media of Beijing Normal University. In October 2009, he was awarded the honorary professor and honorary member of the Russian Artists' Creation Union by his alma mater, the Repin Academy of Fine Arts. In July 2010, he was awarded the Gold Medal for Creation by the Academy of Arts of Uzbekistan. In June 2014, he was awarded the "Knight of the Oriental Order" by the President of UNESCO Hao Ping in Saint-Emilion, France. In 2015, he published his third collection of works, Case Studies of 21st Century Artists. In November 2016, the Silk Road Artist for Peace Silver Medal was awarded to Rahmon in Dushanbe, Republic of Tajikistan.