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DRAWING

By Thomas Ferguson,2014-07-23 20:52
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DRAWINGDRAWIN

    DRAWING

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    ;1r.aVV.L_|=I‟-,

    ;XUZhiguang,aShandongbornpainterhasatypicalcharacterofShandongpeople--sim

    pleandguileless.Hispersonalityhashadvisibleimpactsonhis

    ;artisticcreation.fputmuchvalueson

    ;sketching,becauseIbelievethatsketchfng ;cannotonlyimproveexpressivenessofmy ;paintingworks,butalsohelpmetohavea ;befferunderstandingofwhatishappening ;today,saidXu.

    ;SketchingisaclassicafapproachinWestern ;paintingadOn.fntheearly2Othcentufvwhen ;ShanghaiArtSchoorStin~oducedWesternfine ;artsintoChina,sketching,asanewconcE}ptof ;finear}steaching,washighlightedasan ;innovativeteachingapproach,whichremarkabiy ;facilitatedthetransitionofChineseartsfmthe ;everossifyingimatingmeflhodtoflhefively ;approachofsketching.Sincethen,sketchinghas ;servedastheessentialcomponentofChinas ;modernsystemoffineartsteachingandusedby ;manyChineseartistsasawayofartisticcreation. ;fntheartisticcontexttoday,Xuspe~istencein ;sketchingmaybeconsideredbeing

    ;conventiona1.However,whenyouhaveasecond ;lookathispaintingworksyouwillfindthatwhilehe ;adherestothet~dffionofsketching,thepainter ;hasdeveloped.tasawaytodemonst~tehis ;paintingstyle.Subiec~inhissketchdrawingsare ;notfimitedtonaturaflandscapes.Fromtraditional

    ;stylehouseswithwhitewalls,blacktilesand ;upwardeaves,hills,ponds,villages,corridor ;bridgesandsunsetatriversidetowns,toindoor ;obiects,tovastdesertsandsnowcapped

    ;ByZhaoL

    ;

    ;m0untainsinwestChinaXuspaintingworksareinvoived ;withanextensivescopeofsketchsubiects.Inaddition,his

    ;worksarenatmerelyphysicaldescriptionsofsceneries; ;instead.theysymbolizethepainter‟sinfiniterespectfor

    ;nature.SinceresentimentsreplaceartificiaIdecoctionand ;truefeelingsove~hadowsuperficialportraya1. ;Sketchingexperienceshaveenabledthepaintertohave ;morechancestoapp~achnaturesothathiscreations ;seenotracesofstereotypesorformattedskills.Thepainter ;simplyrecordshisdirectimpressionsandinstantimpulses ;withbrushworksandcreatesthemostbeautifuIscenesof ;nature.Hedrawsinspirationsfr0mnature,handlesscenes ;withmoreinnovativeapproachesandtriestohighlightthe ;mostessentiaIdispositionsofdepictedsubjects.Froma ;pano~micperspectiveandwithabroadervision,the ;painteraimstocreateamoreintegrated,grandscaleof ;landscape.

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    ;)minShandongProvincein1973.graduated

    ;ICollegein1995andcompletedthegraduate

    ;~intingfromtheCentralAcademyofFineArts

    ;Aftergraduation,hehastaughtintheCAFA

    ;t7oo1.

    ;)rkshavebeendisplayedinthefollowing

    ;IiPaInters”Jinan95:

    ;LlfeonExhibition”.Beijing.1997:

    ;onUniversityTeachersofOilPainting”Jinan.199

    ;Biennia,,,.Jinan,7997

    ;~itiononNewArtists”“fantai,199&

    ;)HExhibitionBeijing.2000:

    ;3eriment:AnOilPaintingExhibitionoutstandingworks

    ;nportantBe~iing.2002

    ;tion;AnInvitationalExhibitionofOilPaintingShanxL ;=irstExhibitiononCAFAGraduates‟Beijing,2003,

    ;;theNewCentury:ThirdChinaOilExhibition,Beijing ;0eFineArtsExhibitioninCelebradonofthe55th ;:oundingofNewChina(second-prizewinner),Jinan, ;ShanghaiFineArtsExhibitiononYoungArtists”

    ;XUhasneverfoIlowedtheWesternprincipleofsketchingjn ;arigidmanner.Hebelievesthatevenamosttransient ;glimpseofnaturecancreatethemostprofound,eternal ;momentwhichcantouchviewersmost,Thatjswhyhe ;doesnotdeliberatelyPursuetheinteariofscenesorstick

    ;totheperspectiveapproach.fnstead,hemakesbold ;rearrangementsofscenesinordertoexpressthemost ;excitingpartofnature.Thisahemptmavremindviewersof

;thespiritualqual_~of0rientafpainting.

    ;“AppleTrees”epitomizesthepainter‟sfeelingsandlaysa

    ;foundationforhislnnovationinvisuafforms.Subiectsinthis ;paintingworksmalntainsomereatisticconnectionwith ;naturewhilegoingbeyondthelimofnaturetos,,mbotize

    ;culturafandspirituafprofundity.Thustheworks”touches

    ;viewersheartsandbringsaboutechoes

    ;Xuspaintingworksgiveviewersasenseofvisuafbeau~. ;Whileretainingthelnfinitecharmofnaturehispaintings ;reflecthiscallforthe,ayofsketching”.BVintegrating

    ;expressivepaintinglanguagesofWesternmodernart,Xus ;creationsmoreresemblethewaythatancientcalligraphy ;lscreated--vigorousbrushworks,freehanddepictionand ;echoesbetweenmjndsa13dhands.

    ;Whileshowingrespectfornature,Xuhasassimilatedhis ;poeticpraiseofnatureintohissketchingpractices.Thatis ;hispersonalizedinterpretationofsketchingasa ;contemporaryChineseartist.

    ;Shan~lhaL2005

    ;“NatureandMan.”SecondExhib#ionofContemporaryChIneseInk.Oiland

    ;LandscapePainting”,Beijing,2005;

    ;Exhib#iononOil,inkandLacquerPaintingofChineseandSingaporean ;MainstreamPainters‟Beijing,2006;

    ;“SpiritandQuality:AnExhibitiononChineseContemporaryRea|lstico|I

    ;Painting‟:ShanghaiandBeijing,2006;

    ;“ChineseContemporaryOilPaintingExhibition”,Singapore,2007;

    ;“XuZhfauangSoIoOilExhibitlbn‟:KualaLumpur,2007;

    ;“SecondNationalExhibitiononLandscapeandGenrePainting‟ShanghaL

    ;200

    ;“cltvo|LionSingaporeunderBrushworkofChinesePaintersSingapore

    ;2008

    ;Hisworkshavebeencoliectedbyfollowingpresrigiousart ;inst~tUtlOnS

    ;„„AppleTreesandSunset”,NationalArtMuseumofChina;

    ;“APPleTrees,CAFAMuseum;

    ;“sunshineofKashiqeSGlMaiaysia;

    ;aswellasmanyotherartinstitutionsandprivatecollectors. ;HispublicatlbnincludesXuZh1guangTeachingPIanonColor”.

    ;Hisworkshavebeenpublishedinsuchartmagazinesand ;newpapersas‟WorldArt‟:”FineArts‟:‟ChineseOilPainting‟:”Art

    ;Panorama‟:”ArtInFocus‟:‟XinminEveningPost”and‟Ca~logue

    ;onChineseContemporaryArtists‟:

    ;

    ;

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