Lin Fengmian
Lin Fengmian (Chinese: 林風眠; November 22, 1900 – August 12, 1991), originally Lin Fengming (林凤鸣), was a Chinese painter and is considered a pioneer of modern Chinese painting for blending Chinese and Western styles. He was also an important innovator in the area of Chinese art education.
Lin Fengmian life is committed to art education and painting creation. During his stay in France, he carefully studied Western painting, and into the Chinese culture, created many anti-feudal as the theme of the oil painting, was praised “humane”, “pain” is the representative of this period. After returning home, the traditional Chinese drawings, such as the Sui and Tang Dynasties landscape, Dunhuang Grottoes murals, the Song Dynasty porcelain, the Han Dynasty stone, the Warring States lacquerware, the Republic of China woodcut New Year paintings, shadow shadow, etc., also one by one to study. In addition, he studied Chinese literature, poetry and music, to enrich their artistic accomplishment. In the creation, he respects the traditional tradition of Chinese and foreign painting and folk art, but strongly opposes the predecessors, stick to the rules; advocate the East and the West to communicate with each other, learn from each other, based on their own national culture, the development of new Chinese art. His works to pursue the mood, pay attention to charm, skills, emphasizing the unity of authenticity and decoration; composition is often airtight, but do not feel cramped, the use of bright colors, strong show strong, purely rich, both confrontation , And unified, to form their own unique style. Hong Kong “Wen Wei Po” August 14, 1991 reported that: (Lin Fengmian works) “integration of Chinese and Western cultural traditions in a furnace, to create a unique style of individual, renowned international art scene.” The representative of “heron” and so on.
November 22, 1900, Lin Fengmian was born in Guangdong Province Meixian (formerly known as Jia Yingzhou) Xiyang White House town of public ridge village. When the small name Ahqin, named Shao Qiong, later changed to Shao group. Grandfather for the mason, carved tombstone for a living Father Lin Yu Nong inherited the ancestral industry, and good at painting. Mother Que sub-zone, farmer origin.
1904 Jia Chen 5 years old into the private school, called Fengming. According to the father to teach copy “mustard garden painting”.
In its 6 years old, Lin Fengmian mother with a stained green workers eloped after being caught back. The day when the village people poured oil into her. Young Lin Fengmian, I heard the mother to be burned to death, they angrily picked up the knife, out of the house shouting, said to kill the whole family! Lin Fengmian in the resistance, the family finally discuss the mother to sell. Before the sale, he slipped out to see her, the mother holding him crying meal, from the mother and child each day. Later, the mother in the nunnery when the servant, before dying did not see you again.
In 1907 Ding no 8 years old into the old primary school.
In 1908 (the first year of the Qing Xuantong) has been unitary 10-year-old painting “Songhe map” in the hall, for the township to buy.
1911 Xinhai 12 years old into the senior primary school.
1912 (the first year of the Republic of China) Prince 13-year-old senior primary school to continue reading.
1913 Jia Yin 15 years old, Lin Fengmian admitted to the provincial Meizhou middle school, during which he and his future friends Lin Wenzheng, Li Jinfa and other organizations organized a “study Lishi poetry”. Learn from poetic art, and served as vice president, “things beyond meditation, meaning almost Gui algae” and “Zhaoming anthology” is his favorite reading books. For the painting, he is more obsessed, when Lin Fengmian relatives from the Nanyang brought back some printed foreign language illustrations, the rich color, the image of realistic style makes small copy of the “mustard garden spectrum” Lin Fengmian see another A different art world and a longing for. At that time, Lin Fengmian painting achievements won the drawing of teachers Liang Bo Cong’s appreciation, the little we know that the old gentleman found Lin Fengmian image memory ability, picture never forget, and has its own understanding and creation. Mr. Liang Lao think that students can draw as good as their own to get 100 points, but often in the painting of Lin Fengmian hit 120 points on the appreciation of Lin Fengmian this can be seen.
In 1919 July, the school has just graduated from the Lin Fengmian received Meizhou middle school classmate Lin Wenzheng sent a letter from Shanghai, learned from the work of studying in France news, then bid farewell to the parents to Shanghai and Lin Wenzheng together as the sixth batch of students studying in France , To study in France. In 1921, they were transferred to the French National Dijon Academy of Fine Arts, and in September, he went to the National Academy of Fine Arts in France and was able to enter the work of Cormon, who was hailed as “the most academic painter” Room learning, and extensive contact with a variety of art forms, as well as the European art circles that the “Oriental Art.” In the spring of 1923, under the invitation of fellow Xiong Junrui, Lin Fengmian and Li Jinfa, Lin Wenzheng and Huang Shiqi began to study in Germany for nearly a year. The study tour greatly influenced the early artistic style of Lin Fengmian. He was in full contact with the school At that time, as a new art style appeared in the form of expressionism, abstractism and other new schools of painting, creating a large number of Western modernism with the personality style of the works, such as the famous “Berlin coffee”, “calm”, “Tang and Han duel” Wait.
In early 1924, Lin Fengmian and Alice Von Roda (Elise Von Roda) married.
After the study of the law, Lin Fengmian and friends set up the “Forbos” in February 1924, “Fort Bo Si” joint art school launched the “ancient Chinese and modern art exhibition preparatory committee”, in May 21 Held in Strasbourg, France, “China Ancient and Modern Art Exhibition” officially opened, Lin Fengmian exhibited a total of 42 works. The exhibition’s special chairman Cai Yuanpei Lin Fengmian is also very appreciated.
In the autumn of 1924, Mrs. Lin Fengmian Rotta died after birth, died of puerperal fever, and the newborn babies immediately died, suffered a huge blow to Lin Fengmian determined to devote themselves to the artistic creation. On April 18, 1925, Lin Fengmian remarried, and Alice Vattant. In the winter of 1925, Cai Yuanpei invited to return home, Ren Peiping art school principals.
Invited Qi Baishi, the French painter Claudio (Claudot) to the school lectures, hope Bocaizhongzhang. May 11, 1927, by Lin Fengmian initiated and organized the “Beijing Art Conference” in Beijing, the official opening of the National Art Institute, which is China’s largest ever, the most complete variety of art exhibition. However, the lack of enthusiasm for the general assembly of the General Assembly.
The failure of the art conference to make Lin Fengmian wake up to the first people must first understand the acceptance of art, to the real development of art. March 26, 1928, when the former president of Cai Yuanpei founded the Hangzhou National Art Institute (China Academy of Fine Arts predecessor), appointed Lin Fengmian as Dean and professor. Lin Fengmian also organized the establishment of the “Art Sports Club”, founded the relevant magazine “Apollo” and “Athena.” However, soon after, “Art for Art” and “Art for Life” both argue that Lin Fengmian’s “civilians art” contradicts the prevailing political situation in China. “West Lake eight arts community” split is Lin Fengmian art movement once again a sign of failure.
In 1937, the Japanese war broke out in China. Hangzhou National Art Institute to the southwest transfer, and with the North Pingyi art merged, physically and mentally exhausted Lin Fengmian was removed from office, gradually withdraw from the mainstream of modern Chinese art education. After he returned to the painter-based, began to create their own independent consciousness of the painting, and turned to impressionism, fauvism, Cubism and other Western modern art trends, dilute the traditional ink and ink ideas, trying to use the concept of modern Western art movement to cut into Chinese painting, The result is inevitably out of the “nationalization of Chinese painting”, was the realism of the mainstream of the mainstream art of fusion and failure.
Lin Fengmian and Xu Beihong think that Chinese art must be reformed, must borrow something from the West to change the art of China, change people’s view of art, change the hearts of the Chinese people. This is the greatness of their generation. But they give different prescriptions. Xu Beihong that the reason why Chinese art in that era of micro, is because and life, the reality of alienation, so he advocated the spirit of realism, he brought from the West realism connotation of enriching Chinese art. Xu Beihong’s approach is very far-sighted, recognize the “art trend”, made a great improvement in the role of Chinese painting, especially in 1949, he and the social advocates of revolutionary realism together, formed at the time of Chinese society mainstream, Has repeatedly been highly valued by the authorities.
Lin Fengmian also believes that the introduction of Western good things to change China, but he does not think that the introduction of Western realism should be simple, but should introduce the spirit of Western modernism, Western freedom of creation, which in many years have been misunderstood, As a scourge. After 1949, because it was regarded as a new painting does not art aesthetic, not to be taken seriously, he was sadly dismissed and helpless to leave school. Therefore, when we re-discuss Lin Fengmian today, especially to pay attention to Lin Fengmian this series of ideas, really re-understand the core of his thoughts on our national art revitalization of a new understanding.
After the People ‘s Republic of China, he served as vice chairman of the Shanghai Branch of the Chinese Artists Association.
During the Cultural Revolution suffered a fight against persecution, for the self-protection, to collect their own three thousand paintings, hand a bubble soak into the bathtub, standing on the trample. Later, because with his fellow Ye Jianying (then vice chairman of the CPC Central Committee) rescue, so spared.
1977 was allowed to go abroad to visit relatives, two years after the seclusion of Hong Kong, continue to create.
In 1977, Lin Fengmian was allowed to go abroad to visit relatives, and since then moved to Hong Kong until death. In Hong Kong more than ten years, he went to Brazil to visit relatives, re-traveled away 60 years of Paris, has in Japan, France, Hong Kong, Taiwan, a solo exhibition. Hong Kong is an international metropolis, selling paintings convenient, well-informed, closed eyes and ears of the day forever passed. But he was more than eighty years old, used to a quiet life, not easy hospitality, but also rarely participate in social activities. Around the righteous woman Feng Ye care of his life and exhibitions, selling paintings and other matters. This is the most comfortable and free period of his decades.
For the painting, works, was acquired, the collection is also more, is the characteristics of this period. Most of his works in the 40s to 70s were destroyed by the “Cultural Revolution”. After arriving in Hong Kong, he painted a lot of remembrance of the old works, or scenery, still life, ladies, flowers and birds and opera characters. The new painting, there are Christ, nuns, dreams, Qu Yuan and so on. Together, he reproduces the two themes that call humanity, chanting life, the style is more comfortable, unrestrained and strong.
This period of landscape painting, many of the memories of the West Lake. He said that in Hangzhou, every day to the Soviet Union to take a walk, full of West Lake scenery, and in the mind, but then did not want to paint it. In Shanghai, most of the painting is the West Lake Autumn and spring, tender willow, boat, tile room, water lilies, infinite quiet and beautiful. To Hong Kong, the scenery once again appeared in the pen to autumn for more, golden yellow maple, blue mountains, in the sun brilliant and dignified. Low cottage, in the twilight in the shining stream, but also with his later years of rural thinking into a piece.
Some other scenery, thick ink, the realm of dark Ming, like Tong Yun clouds, the beginning of the night or dawn is not open when the waves in the thunder of the mountain, the clouds flying, even the mountain stone also showed the trend of Pentium, And the Shanghai period of the landscape of the quiet nature of the very different, as if the original vitality of the explosion broke out, overflowing in the frame. Lin Fengmian in the 50s swim once Huangshan, painted dozens of sketches, feeling very excited, but did not return after the theme of Huangshan creation. In the late 1970s, he suddenly painted Huangshan. Huangshan map and the performance of these clouds do not have the misty clouds, the green of the mountains, the realm of deep, but with rough brush strokes, warm colors depicting the mountains of the late night, showing a happy rainy weather. This is the old painter’s description of Huangshan impression, but also conveyed him through the “Cultural Revolution” after the catastrophe, in the new era of new life experience gained.
This period, the ladies painted more, generally maintained a poetic dream of the consistent character, but also increased the momentum, become lively and lively, flirtatious gorgeous. 40 years have painted the naked subject reappearance, plump body, rounded curves, Matisse and Motie Gary Ani style, showing the youthful life of the fresh and longing, reminiscent of Picasso’s old age In the sexy body works. Of course, Lin Fengmeng single flat painted naked woman, filled with oriental rhythm and rhythm, and the Western body art is very different. But in any case, like Lin Fengmian so chasing modern taste, the expression of the old painter of life, in China is rare.
Costume characters and opera characters are also relatively increased. Some also along the 60’s traces, to capture the momentum, to explore the deformation, to give the stage characters with new feelings, such as “Luhuo” in the Zhang Fei, “White Snake” in the young children and white Suzhen, “In the characters. 80 years of the “fire Chibi”, drawing on the stage image, with the plane cutting, symbolic symbols and wild lines, as well as black and red contrast, depicting an unprecedented dramatic scene. Painter on the force and the United States, good and evil, history and reality of the feelings, are included in the tragic and chaotic picture of the.
Died on August 12, 1991 in Hong Kong. Today’s painter Zao Wou-ki, Zhu Dequn, Wu Guanzhong and so are his students.
works:
(Zhu Pu series) of the description, we can see that “Berlin Cafe”, “fishing village after the storm” is the German knowledge and life experience as the theme. The former depicts a cafe in Berlin near the scene, the picture silhouette floating, the drinkers in the greeting, talk, laughing. Strokes unrestrained, light color cross-hui, reminiscent of Manet’s “goddess of the club bar.” One researcher said that “the Berlin Café” was a painter who “witnessed the extravagance and exorcism of the richness, the destruction of the souls, the fall of the soul.” Another researcher said the painting was “a reflection of the lovers’ resentment in the post-war recovery.” From the painting prints, this painting is indeed depicting the joy of mood, the painter’s subjective desire, it is difficult to make a very positive answer.
“Fishing village after the storm”, the painting is the storm, the fishing woman waiting at the beach to the scene of the boat: people facing the sea standing, the appearance of calm is to cover the inner anxiety and tension. The dramatic effect of visual effects, the deep concern of the fate of ordinary workers, is the characteristics of this work. This painting has been hanging in the Hangzhou art school principal room. 50 years later, Lin Fengmian students Li Lincan also clearly remember its “heavy and condensate of the dark tone” and the woman in the painting “at the seaside sky” and the whole work of the “brush strokes, boldness, look”! The
“The ancient dance” “depicting the Greek girl’s morning dance”; “Kerry Abba’s Spring” “depicting the Egyptian Queen Simu Roman ancient, Fuqin sad song on the beach”; “Laolang” “based on Hugo’s epic, Description of the French medieval bloody map “;” pyramid “” description of the dusk white wings of the days of women in the Sphin Lion “;” trembling before the devil “,” Tang and Han of the duel “,” take the village to do the narrative poem. ” These works are full of longing for the ancient and mythical world, singing the magical love and heroism, stirring the young painter’s poetic and fantasy.
At the time, Lin Fengmian met Germany Austrian girl Roda (Von Roba). She was born in a large family of orphans, graduated from the Department of Chemistry at the University of Berlin. They love at first sight, but by many resistance. These works are filled with warm, longing, lyrical and even faint melancholy, inevitably with the artist’s love background inextricably linked. Even in the chanting of the ancient painting, but also entrusted with a turbulent mood.
1923 early creation of the “groping” is a giant structure (2X4.5 meters), intended to show the thinkers are exploring the way of life. China’s “Art Review” reporter Yang Zheng was interviewed in Paris in 1924 Lin Fengmian, he sent back to the country’s news that “groping” “full width full of ancient and modern great man, all looks not special Bishao and depict its spirit, character personality are hidden At the end of the pen. Homer crouched on the ground, Jesus meditation, Tolstoy waist hand, Ibsen, Goethe, Van Gogh, Michelangelo, Shaliluo, etc. will have to explore the mystery of the mystery, praise the human The spirit and effort of the leader. ”
This work was exhibited at the China Art Fair in Strasbourg and was attended by the attention and praise of all the audience and was selected for the Paris Fall Salon in 1924. Explore the way and purpose of mankind and life, this is the eternal theme of philosophers, poets and artists. Many of the students who are looking for truth from the troubled old China to Europe are thinking about the subject.
In 1924 at the Chinese art exhibition held in Strasbourg, Lin Fengmian provide the most works, “Oriental magazine” Volume 26, No. 16, said the text, said: “The new painting with many masterpieces, such as Lin Fengmian, Xu Beihong Zhujun , Is very excellent works, especially in the Lin Fengmeng Jun painting up to the most creative value. Not only the Chinese people and heavy, that is, foreign art critics also called more than. “This year the creation of Chinese painting” And “groping” together with the fall salon, and participated in the next year’s World Technology Fair. The painting draws on the teachings of Gao Jianfu, depicting the size of four tigers, from the reed whistling out of the show. The proposition is used by Schopenhauer’s verse.
Cai Yuanpei very appreciate this painting, saying it “was almost, into the skills carry on”! Cai Yuanpei said here, “Tao” should refer to the “spiritual desire” to convey the spiritual connotation, which connotation and “groping” has a similar intention to try to use the painting language to tell the metaphysical concept. Lin Fengmian painting “raw desire”, perhaps by Schopenhauer some of the revelation. But the painting of four tigers, is clearly a symbol of a life of craving and self-confidence, and Schopenhauer pessimistic and very different, and showed a rising optimism. “World Craft Fair” on the display of many pieces of Lin’s works, there is a “drink horse Qiushui” (watercolor). Depicting a light-colored clothing of the knight, across the dark horse, walked toward the depths of the screen, showing a heroic self-confidence, the horse long line of the spirit. Its mood, and “raw desire” of the excitement and philosophy are different.