editor’s note
The grass is growing and the warblers are flying, and spring is wonderful. After the dull and bleak winter, the breath of spring calls people to step forward. The wonderful exhibitions in art galleries and museums attract people who have been away for a long time. It is such a rare moment of joy to walk into an exhibition, gaze at a piece of work, and fully enjoy the thrill of having a face-to-face dialogue with art. We recommend the recent great exhibitions to readers, where we can see the development of Chinese art tradition and modernism, and the new look of the exchange period between Eastern and Western paintings. We are also looking forward to more good exhibitions to meet the audience.
52 works present a brief history of European painting
Author: Zhang Yumei
The exhibition “From Botticelli to Van Gogh – Collections from the British National Gallery” currently on display at the Shanghai Museum has ignited the enthusiasm of the audience, and so far, nearly 180,000 people have come to watch the exhibition. The exhibition is divided into eight sections. Through 52 works by 50 artists, it fully presents the development from the Renaissance in the 15th century to Post-Impressionism in the 19th century. Extending over 400 years, it can be said to be a concise history of European painting.
Poster “From Botticelli to Van Gogh – The National Gallery Collection Exhibition”.
This is the first exhibition of the British National Gallery in China, and the audience can appreciate Botticelli, Raphael, Titian, Gosset, Caravaggio, Poussin, Claude, Van Dyck, Rembrandt, Canaletto, Constable, Turner, Cézanne, Gauguin, Manet, Monet, Van Gogh and other masterpieces of art history masters, learning about the Italian Renaissance, the Northern Renaissance, the Venice School of Art, Etiquette, Baroque, Dutch School, Rococo, Classicism, Romanticism, Impressionism, Post-Impressionism and other brilliant schools of art. During the four hundred years covered by the exhibition, together with the promotion of science and technology and the transformation of society and culture, great changes have taken place in the way people observe things and the way they represent the art world a thousand-fold story.
Iris (oil painting) Claude Monet Collection of the National Gallery of England
Stepping into the exhibition hall, the audience will feel the fusion of classic and modern, space and paintings. On the one hand, the exhibition maintains the classical temperament of the British National Gallery building itself, integrating European classical arches, plaster lines, light and shade, etc. into the space of the exhibition hall to draw attention to the elegance of Western art; In the box space, Morandi’s color system is used to divide the space of the exhibition hall, and the depth and light are changed alternately in order to adjust the visual balance of the audience.
Apollo and Daphne (oil painting) Piero del Polyyuolo National Gallery
In order to make up for the regret of not being able to participate in the exhibition as “Sunflower” by Van Gogh, Shanghai Expo launched the “Master of Reproduction NG Treasures ｜Immersive Light and Shadow Experience” exhibition on the 4th floor at the same time. , displaying 3 exhibitions and 20 valuable paintings that were not exhibited this time, including Van Gogh’s “Sunflowers”, “Water Lilies”, Da Vinci’s “Virgin of the Rocks”, etc. The art experience of two exhibitions. The digital exhibition reproduces classic masterpieces through special effects animation and light and shadow technology, creates an immersive and exceptional art experience, tells the aesthetic world and philosophical thought in the eyes of artists, dialogues with masters across time and space, and travels through the history of Western art.
“Long Grass and Butterflies” is a work that has attracted a lot of attention in the exhibition. This painting by Van Gogh was done when he was suffering from mental illness and was about to end his recovery at the Saint-Remy Hospital. The painting is the garden of the hospital. Van Gogh did not paint the horizon, but relied entirely on his iconic brush strokes and beautiful colors to support the picture. His colors are highly expressive, warm and simple but not simple, and his system complex yellow-blue, red-green complementary colors incorporating With the achievements of artists since Manet, the audience can appreciate Van Gogh’s rich color expression in front of the original works.
Almost every painter will come across specific problems, such as how to use brush strokes to present people or objects, how to develop narratives in space, how to use light and shadow to manipulate vision… In this exhibition, we will see the works presented by different artists their respective answers. These very different answers that look back to the past and lead to the future, connect the history of “image production” in Europe, and tell the “way of seeing” behind it.
A good time to visit the exhibition is when spring is in full bloom -—recommended exhibitions in March
Author: Jiang Jinjun (Professor of Tianjin Normal University)
“The peach blossoms shine brightly”, this is the expectation of beautiful things in the “Book of Songs” The place where the peach blossoms are in bloom is always full of romantic poetry. Tao Yuanming’s “Peach Blossom Spring” in the Eastern Jin Dynasty made the best interpretation for it. Tao Yuanming once served as Jiangzhou Jijiu, Jianwei joined the army, Zhenjun joined the army, Pengze county magistrate and other officials. With the turmoil in the social situation, the “mighty ambition” (“Various Poems”) of his youth in last resort to “keeping the clumsy” “Return to Yuantian” (“Return to Residence Yuantian Part 1”), while facing the reality, Tao Yuanming found a spiritual paradise – the Peach Blossom Spring while pouring his chest with the wine in his cup.
“Where is the Taoyuan – Special Exhibition of Qiu Ying’s “Peachland in Wonderland” Poster
There are many painting creations based on Tao Yuanming’s “Peach Blossom Spring” in the past dynasties Chen Juzhong in the Southern Song Dynasty “Peach Blossom Spring”, Zhou Chen in the Ming Dynasty “Peach Blossom Spring”, Wen Zhengming in the Dynasty Ming “Taoyuan Wenjin”, and Qian Gu in the Ming Dynasty “Spring Peach Blossom”. Scroll”, Qiu Ying’s “Taoyuan Fairyland Picture” in the Ming Dynasty, Wang Hui’s “Peach Blossom Fishing Boat” in the Qing Dynasty, and Shi Tao in the “Peach Blossom Picture Volume” in the Qing Dynasty all interpret their spiritual resonance and various expressions of Taoyuan beauty with different compositions and expressions.
“Where is the Taoyuan – A Special Exhibition of Qiu Ying’s “Peachland Wonderland” opened at the Tianjin Museum a few days ago, allowing the audience to appreciate this masterpiece passed down from generation to generation. “Taoyuan Fairyland Picture” ( dyed on silk, 175 cm long and 66.7 cm wide) by Qiu Ying, a Ming Dynasty painter, depicts the land of Taoyuan “backed by smoke and clouds” with great skills and rich ideas. Qiu Ying was born (circa 1498 -about 1552), courtesy name Shifu, in Taicang, Jiangsu, and lived in Suzhou. He was a painter during the Jiajing period and was known for his elegant figures, landscapes, animals, and border paintings. He made many friends with Shen Zhou, Wen Zhengming and other painters, constantly absorbing the aesthetic taste of literati painters, and creating a new model of a green landscape.
Taoyuan Fairyland Map (Chinese Painting) Qiu Ying Tianjin Museum Collection
“Taoyuan Fairyland Picture” is a classic masterpiece of Chinese green landscape painting. This work is a large green landscape of heavy color, with full and generous composition, smooth and free brushwork, and beautiful and elegant colors. It not only has a strong Tang and Song landscape painting style, but also reflecting the aesthetic style of the society and classes that were emerging at that time. The whole painting adopts the vertical composition method and high distance, with three stacked layers, and the close, middle and far scenes are clearly layered, no matter tree, stone, grass, or a tree, or the dynamics and expressions of the characters, they are all depicted thoroughly and thoroughly. In the foreground, the ancient trees are green and the peaches and plums are fragrant. A main pine tree lies on top of the nearby cave from the slope on the right bank. Showing its antiquity, it deep ravines and clear streams. On one side of the river, three highly regarded scholars are enjoying themselves, One of them is playing the piano, the other is listening quietly, and the third is dancing happily. On the bridge, the the boy holds the Ou, and on the other side of the river, a boy stands with a food box, The five people form an ingenious and harmonious relationship of movement, stillness, gathering and dispersion. The middle scene is the layer upon layer of peaks set off by the steaming clouds and mist above the cave. One person is climbing up the mountain road. The Guanyun Pavilion is on the mountain, which is almost hidden in the sea The Yaotai and the pine and cypress complement each other, while the pine forest is different from the ancient pine in the foreground, presenting a tall and handsome posture, and the forest is also full of figures. The distant views are still “divided” by the auspicious clouds in the mountains. Although the main peak is not as spectacular as Zhongjing Mountain, it is quiet and deep. There is a transcendent beauty.
“Taoyuan Fairyland Picture” combined literary texts, artistic ideals and social aesthetics of the time by Qiu Ying, and carried out a comprehensive and successful aesthetic interpretation. “Taoyuan Fairyland Picture” and “Peach Blossom Spring” not only have the same inherent poetic aesthetics, but they are also not the same. In addition to the genre and form, the two also have differences in elements specific artistic. It should be said that the picture has some deviations from the original text, but at the same time, it is also greatly enriched and processed, which is more in line with the visual aesthetic expression of landscape painting After entering to the Yaotai pavilions, “activities of traveling and planting” have become a stream of enjoying the piano, and the clouds that penetrate through it have been added. All of these can be said to be “standard equipment” for Xuanmian talents and sergeants in the caves of the past dynasties. It is not only the free and unrestricted performances of Ji Kang and others when they sing in the bamboo forest, but also cups curved water Wang Xizhi and others when they are in the Lanting Gathering.Yu Boya and Zhong Ziqi are rewarded with bosom friends in the style of high mountains and flowing water.
“Guangming Daily” (version 11, March 19, 2023)
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责编：孙宗鹤 ]
