The former is based on natural expression, while the latter is based on deliberate management. His life's struggle coincides with the ups and downs of western artistic thoughts on China's beauty. At the same time, he believes that the blending of Chinese and foreign art can promote the brilliant development of art, but his own creation insists on seeking new things from tradition itself all his life and does not reach out to learn from external factors.
The differences in style between him and Wu, Qi and Huang are not beyond the unified circle of traditional materials, tools, expression techniques and aesthetic tastes. Therefore, his pursuit of greatness, adventure and tenacity has not gone out of the traditional aesthetic category of "magnificence" and has not turned from learning western culture to sublimity.
He is the last master of traditional painting who is closest to but has not entered the modern era. Phoenix. com commented: "Pan Tianshou is good at freehand brushwork of flowers, birds and landscapes, and occasionally works as a figure.
You are good at drawing eagles, starlings, fruits and vegetables, and pine plums. Boldly put pen to paper, be careful of dyeing.
The ink color is staggered, and the composition is fresh and elegant, magnificent and interesting. The picture is smart and fascinating.
Pan Tianshou's painting themes are eagle, lotus, pine, four gentlemen, mountains and rivers, figures and so on. Every painting should have a unique situation, seek a balance among structural risks, be concise in form and have far-reaching significance. " 。
2. Comments on Chen Peiqiu 1923, Chen Peiqiu was born in Nanyang, Henan Province, and spent his adolescence in Kunming. When she was young, she loved art and got excellent grades, especially math. She grew up in turbulent times and graduated from War of Resistance against Japanese Aggression in high school. In response to the call of saving the country through science and technology, she entered the National Southwest Associated University with 1942. Out of his love for art, Chen decided to switch to studying art and was admitted to Chongqing Institute of National Arts with 1944.
At that time, the students of National Art Institute yearned for western art and hoped that western realism would be the only way for China's future artistic development. However, Chen Peiqiu is not influenced by his peers. She has long been fascinated by China's traditional painting, focusing on the art of ancient masters, and is convinced that the art of predecessors can inspire her artistic creation.
During her major in national art, Pan Tianshou and Huang were both teachers of the school, so she could learn flower-and-bird painting with Pan Tianshou. But she thinks that the Song Dynasty is the peak of China's artistic development, so she is determined to follow the footsteps of her predecessors and the artistic direction of ancient masters. Starting with flowers and birds and landscape paintings in Song Dynasty, she carefully explored two styles: meticulous painting and freehand brushwork.
1950 After graduation, Chen Peiqiu began to work in Shanghai Cultural Relics Management Committee. At that time, her work gave her a lot of opportunities to browse ancient paintings, and she could even borrow flower-and-bird fan paintings from the Song Dynasty to copy them. Miscellanies of Flowers and Birds shows the techniques of Chen Peiqiu's meticulous flower-and-bird painting in Song Dynasty, all of which are common themes in Song Dynasty painting.
After carefully thinking about meticulous techniques, Chen Peiqiu turned to explore a broader and freehand brushwork style. Generally speaking, the painter's emotion and spirit can be expressed and released through freehand brushwork. She learned from Xu Wei's simple modeling and emotional ink painting techniques in Ming Dynasty.
A few years later, her ink splashing skills combined with a new combination of skills. She described every scene of nature with vivid brushstrokes and splash ink. The most successful thing is that she can combine meticulous brushwork with freehand brushwork to make her works more elegant and beautiful.
After China's reform and opening up, Chen Peiqiu had a new observation and induction of new things around him. In addition to still insisting on copying ancient paintings, she began to pay attention to western art. Chen Peiqiu keeps changing her style. She admired Manet, Renoir and Degas' flashing colors and exquisite brushwork, and referred to the impressionist colors in traditional Chinese painting. In Chen Peiqiu's mature works, the influence of western art is more and more obvious in landscape painting and color application.
Chen Peiqiu thinks that artistic creation is more expensive than "new" and "difficult". Her own artistic foundation is based on tradition, and her innovative ideas are relative ―― without the old, there is no new. She carefully studied the painting elements of traditional Chinese painting, using refined lines and traditional pen and ink, and using colors inspired by western painting to describe the texture, volume and movement of the scene. She believes that "innovation" is the accumulation of knowledge and skills, while the accumulation of experience and the mastery of skills are time-consuming and laborious, and this tortuous and difficult process is "difficult".
As the inheritor of Chinese painting, she entrusted herself with a mission-repositioning the contribution of Chinese painting to the development of modern art.
3. The representative figures and main viewpoints of the old school in the debate of literary revolution. Some old-school and feudal literati also attacked the New Culture Movement.
Liu 19 19 1 organized a monthly magazine "National Heritage", advocating "taking China's inherent scholarship as its purpose" and opposing the New Culture Movement. In March, Lin Shu (Qin Nan) published innuendo novels "Quiet Life" and "Demon Dream" in the New Declaration, attacking Chen Duxiu, Qian, Hu Shi and others, and inciting warlords to suppress the New Culture Movement.
At the same time, he published the history books to Cai Heqing in Gong Yan Bao, attacking the New Culture Movement as "covering Confucius and Mencius and shoveling human relations", "abolishing ancient books and taking local languages as philology", "betraying relatives and wicked people" and "the head of an animal is buzzing". Cai Yuanpei published a reply to Zhi Bao, emphasizing "following the principle of freedom of thought and adopting the principle of inclusiveness", which effectively safeguarded the New Culture Movement.
Before and after the May 4th Movement, we opposed the old literature that reflected Confucius and Mencius' thoughts, advocated the new literature that reflected real life, opposed classical Chinese, and advocated the literary reform movement of vernacular Chinese. 19 17 1 in June, New Youth magazine published Hu Shi's "My humble opinion on literary improvement", which put forward eight things about literary improvement, namely, what you say must be true, people should not be archaized, grammar should be emphasized, diseases should not be * * *, cliches should be avoided, classics should not be used, and antithesis should not be emphasized.
This is the initial signal of the literary revolution. 19 17 In February, Chen Duxiu published "On the Literary Revolution" in the sixth issue of the second volume of New Youth, proposing the "three cardinals" of the literary revolution, overthrowing polished aristocratic literature, establishing folk lyrical national literature, overthrowing stale and extravagant classical literature, and establishing fresh and sincere realistic literature.
This thought of literary revolution has been echoed by Qian, Liu Bannong and others, who have written articles attacking old literature and put forward some specific ideas of literary revolution. Zhou Zuoren published "Human Literature" and advocated humanitarian literature, which is of substantial significance to criticizing "inhuman literature" in feudal times.
Li Dazhao published "What is New Literature", and earlier began to put forward the issue of taking Marxism as the dominant ideology of new literature. 1965438+In February, 2007, New Youth published eight poems written by Hu Shi in vernacular Chinese, which was an attempt by the literary revolution to break through the limitations of theoretical claims and innovate content.
19 18 In May, New Youth published Lu Xun's first vernacular novel Diary of a Madman, followed by Kong Yiji and Medicine. After 19 19, Guo Moruo published poems such as "Phoenix Nirvana" in the current affairs news supplement, which described the painful life of the oppressed people, filled with works with thorough anti-imperialist and anti-feudal thoughts, and showed the achievements of the literary revolutionary movement. Pan: Pan, president of the Central Academy of Fine Arts, the "new representative of the old school" believes that in the near future, Chinese painting is likely to experience a worldwide prosperity and then gradually die out.
This view is related to his conservative life experience-Pan: "the new representative of the old school" faced with the soaring price of China art market, Pan, who painted Chinese paintings, was "in no hurry". As the president of the Central Academy of Fine Arts and the former president of China Academy of Fine Arts, Pan believes that "the gap between the market price of artworks and the value of artworks is inevitable".
He once jokingly mentioned that foreigners can't understand Chinese painting and dare not say that it is not good. Although oil paintings sell well in the market, they may not have a good evaluation in the west. Pan even thinks that in the near future, Chinese painting is likely to experience a worldwide prosperity, and a "broadcast period" with "broadcast" as the way of extinction-just like the "Hellenistic era" is the broadcast period of Greek art-will gradually die out because of the narrowing of ethnic differences and the internationalization of cultural life.
In Pan's view, the issue of "innovation", which is also debated endlessly in the field of Chinese painting, is entirely a concept derived from modernism science and technology, not from the requirement of artistic originality. "Chinese painting itself is mainly good painting, not innovation. The ancients had many sayings about' painting well', and Zhang Daqian said that it should be compared with the best paintings of the ancients. "
Pan has another status that people talk about-the second son of Pan Tianshou, a master of Chinese painting. Although he was born in a family of Chinese paintings, Pan actually began to paint Chinese paintings after the Cultural Revolution.
Since childhood, Pan's interest in science and technology has gone far beyond painting. He even mentioned with some ostentation that he had "made the radio as big as the smallest razor box". On May 10, a seminar on "Modernity, Modern Transformation and Consciousness" hosted by Pan was held in Guangdong Art Museum.
The topic involves the topic that Pan and his doctoral students are studying-the road of modern art in China. At the same time, there is Pan's solo exhibition Still Water is Deep.
Pan was born in 1947, when his father, Pan Tianshou, was 50 years old and was the president of the National Art Institute. After the times changed and the school was renamed several times, Pan Tianshou continued to teach in the Academy of Fine Arts. From 65438 to 0959, he served as president of Zhejiang Academy of Fine Arts (formerly known as National Academy of Arts) until the Cultural Revolution.
Pan grew up in the courtyard of the Academy of Fine Arts, but Pan did not immediately embark on the art road. Pan described his childhood to the Southern Weekend reporter: "I am introverted, very quiet and particularly interested in technology.
Many children are playing in the yard. I hardly go out to play with them. I cook at home every day. "What he is proud of so far is that he can make his own tube radio in the third grade of elementary school.
That electron tube radio was the first radio made by primary school students in Hangzhou, and was later taken to the Children's Science and Technology Expo. Pan's eldest brother is also more interested in technology. He has never painted a picture.
When Pan was in primary school, his eldest brother was already an engineering college student. After graduation, he became an engineer in Hangzhou Silk Printing and Dyeing Factory. At that time, it was popular to "learn mathematics and physics well and travel all over the world without fear", and Pan "thought his brother was great".
The two brothers "deviated" from their family background, and their father Pan Tianshou didn't care. "As a teacher for a long time, you will understand that a person's success can't be seen for a while.
He trusted me to study with my big brother.
4. During the Republic of China, some conservatives and feudal literati also attacked the New Culture Movement.
Liu 19 19 1 organized a monthly magazine "National Heritage", advocating "taking China's inherent scholarship as its purpose" and opposing the New Culture Movement. In March, Lin Shu (Qin Nan) published innuendo novels "Quiet Life" and "Demon Dream" in the New Declaration, attacking Chen Duxiu, Qian, Hu Shi and others, and inciting warlords to suppress the New Culture Movement.
At the same time, he published the history books to Cai Heqing in Gong Yan Bao, attacking the New Culture Movement as "covering Confucius and Mencius and shoveling human relations", "abolishing ancient books and taking local languages as philology", "betraying relatives and wicked people" and "the head of an animal is buzzing". Cai Yuanpei published a reply to Zhi Bao, emphasizing "following the principle of freedom of thought and adopting the principle of inclusiveness", which effectively safeguarded the New Culture Movement.
Before and after the May 4th Movement, we opposed the old literature that reflected Confucius and Mencius' thoughts, advocated the new literature that reflected real life, opposed classical Chinese, and advocated the literary reform movement of vernacular Chinese. 19 17 1 in June, New Youth magazine published Hu Shi's "My humble opinion on literary improvement", which put forward eight things about literary improvement, namely, what you say must be true, people should not be archaized, grammar should be emphasized, diseases should not be * * *, cliches should be avoided, classics should not be used, and antithesis should not be emphasized.
This is the initial signal of the literary revolution. 19 17 In February, Chen Duxiu published "On the Literary Revolution" in the sixth issue of the second volume of New Youth, proposing the "three cardinals" of the literary revolution, overthrowing polished aristocratic literature, establishing folk lyrical national literature, overthrowing stale and extravagant classical literature, and establishing fresh and sincere realistic literature.
This thought of literary revolution has been echoed by Qian, Liu Bannong and others, who have written articles attacking old literature and put forward some specific ideas of literary revolution. Zhou Zuoren published "Human Literature" and advocated humanitarian literature, which is of substantial significance to criticizing "inhuman literature" in feudal times.
Li Dazhao published "What is New Literature", and earlier began to put forward the issue of taking Marxism as the dominant ideology of new literature. 1965438+In February, 2007, New Youth published eight poems written by Hu Shi in vernacular Chinese, which was an attempt by the literary revolution to break through the limitations of theoretical claims and innovate content.
19 18 In May, New Youth published Lu Xun's first vernacular novel Diary of a Madman, followed by Kong Yiji and Medicine. After 19 19, Guo Moruo published poems such as "Phoenix Nirvana" in the current affairs news supplement, which described the painful life of the oppressed people, filled with works with thorough anti-imperialist and anti-feudal thoughts, and showed the achievements of the literary revolutionary movement. Pan, president of the Central Academy of Fine Arts, believes that in the near future, Chinese painting is likely to experience a worldwide prosperity and then gradually die out.
This view is related to his conservative life experience-Pan: "the new representative of the old school" faced with the soaring price of China art market, Pan, who painted Chinese paintings, was "in no hurry". As the president of the Central Academy of Fine Arts and the former president of China Academy of Fine Arts, Pan believes that "the gap between the market price of artworks and the value of artworks is inevitable".
He once jokingly mentioned that foreigners can't understand Chinese painting and dare not say that it is not good. Although oil paintings sell well in the market, they may not have a good evaluation in the west. Pan even thinks that in the near future, Chinese painting is likely to experience a worldwide prosperity, and a "broadcast period" with "broadcast" as the way of extinction-just like the "Hellenistic era" is the broadcast period of Greek art-will gradually die out because of the narrowing of ethnic differences and the internationalization of cultural life.
In Pan's view, the issue of "innovation", which is also debated endlessly in the field of Chinese painting, is entirely a concept derived from modernism science and technology, not from the requirement of artistic originality. "Chinese painting itself is mainly good painting, not innovation. The ancients had many sayings about' painting well', and Zhang Daqian said that it should be compared with the best paintings of the ancients. "
Pan has another status that people talk about-the second son of Pan Tianshou, a master of Chinese painting. Although he was born in a family of Chinese paintings, Pan actually began to paint Chinese paintings after the Cultural Revolution.
Since childhood, Pan's interest in science and technology has gone far beyond painting. He even mentioned with some ostentation that he had "made the radio as big as the smallest razor box". On May 10, a seminar on "Modernity, Modern Transformation and Consciousness" hosted by Pan was held in Guangdong Art Museum.
The topic involves the topic that Pan and his doctoral students are studying-the road of modern art in China. At the same time, there is Pan's solo exhibition Still Water is Deep.
Pan was born in 1947, when his father, Pan Tianshou, was 50 years old and was the president of the National Art Institute. After the times changed and the school was renamed several times, Pan Tianshou continued to teach in the Academy of Fine Arts. From 65438 to 0959, he served as president of Zhejiang Academy of Fine Arts (formerly known as National Academy of Arts) until the Cultural Revolution.
Pan grew up in the courtyard of the Academy of Fine Arts, but Pan did not immediately embark on the art road. Pan described his childhood to the Southern Weekend reporter: "I am introverted, very quiet and particularly interested in technology.
Many children are playing in the yard. I hardly go out to play with them. I cook at home every day. "What he is proud of so far is that he can make his own tube radio in the third grade of elementary school.
That electron tube radio was the first radio made by primary school students in Hangzhou, and was later taken to the Children's Science and Technology Expo. Pan's eldest brother is also more interested in technology. He has never painted a picture.
When Pan was in primary school, his eldest brother was already an engineering college student. After graduation, he became an engineer in Hangzhou Silk Printing and Dyeing Factory. At that time, it was popular to "learn mathematics and physics well and travel all over the world without fear", and Pan "thought his brother was great".
The two brothers "deviated" from their family background, and their father Pan Tianshou didn't care. "As a teacher for a long time, you will understand that a person's success can't be seen for a while.
He trusted me to study with my eldest brother, almost never asked what you were studying, and got a few points. "Pan.
5. Famous figures in Ningbo Since the Southern Song Dynasty, a large number of important officials have appeared in Ningbo.
The Shishi family in Yinxian, which produced three prime ministers in the Southern Song Dynasty, came from Ningbo. In the Ming Dynasty, Fang Xiaoru, a famous minister known as "the descendant of studying in the world", and many ministers such as Shen, Xiong Rulin and Shen, the chief cabinet books, all appeared in Ningbo.
Jiang Zhongzheng and Jiang Jingguo, two presidents in the history of the Republic of China, were both from Ningbo, while Hu Zongnan and Yu Jishi were important military and political officials in the Republic of China. Ningbo business gangs rose in the middle and late Ming Dynasty, represented by Le Xianyang, who founded Tong Ren Tang.
In the middle and late Qing Dynasty, Ningbo merchants landed in Shanghai and became important commercial and social forces. The representatives of this period are Li, Zhenhai Fangjia, Yan Xinhou, Ye Chengzhong, etc.
Sun Yat-sen once commented: "Every port in China has a career of brave people, that is, European countries have many business footprints and their ability is second to none." After World War II, Ningbo businessmen moved to Hong Kong, North America and other places. At this time, Wang Kuancheng, Li Dasan, Cao Cursor, Ying Changqi, and Zhao An were the representatives.
Since 1980s, a number of business celebrities have emerged in Ningbo, including Ding Lei and Zhuang Sihao. Wang Shouren, a philosopher in the Ming Dynasty, Huang Zongxi, Huang Zongxi, Huang Zongxi, Huang Quanquan, Yao Xie, a writer, and Mei Baozhen, a calligrapher, are all celebrities in Ningbo's cultural and scientific circles.
During the Republic of China, Chen Bulei, Lin Handa, writers Rou Shi, Yin Fu, Tang Tao, calligrapher Sha Menghai and master of Chinese painting Pan Tianshou all appeared in Ningbo. Contemporary cultural celebrities in Ningbo include drama theorist and cultural scholar Yu, British writer, President Yang of Nottingham University, Han Qide, director of Peking University Health Science Center, former president of China Academy of Sciences, modern educator Jiang Menglin, geologist Weng, biologist Tong Dizhou, geneticist Tan, osteopath Chen Zhongwei, father of replanting severed hand, winner of Nobel Prize in Physiology or Medicine Tu Youyou, and online writer Anne Baby (Li Jie).
In addition, the total number of academicians of the two academies who were born in Ningbo and whose ancestral homes are in Ningbo exceeds 100.
6. People's Education Edition 8: The Beauty of the Chinese Bridge Catalogue [Hidden] Original Appreciation Author's Brief Introduction Related Works Text Discussion Teaching Suggestions [Edit this paragraph] Original Appreciation "The bridge I have walked is longer than the road you have walked", now probably few people use this tone to teach little boys! Naturally, you have to cross countless bridges in your life. Apart from the engineers who build bridges, I'm afraid painters have seen the most bridges.
Most artists like bridges, and I always look for them everywhere. How beautiful this bridge is! "Bridge Flowing Water" is of course poetic, but in fact it is more inclined to the formal beauty of painting: people's houses are blocks; Running water, it is a long line and a curve, and the line and the block form a relatively beautiful; Bridges intersect with flowing water, and their forms are more varied, which is also the medium between lines and surfaces. It is a bridge to communicate the morphological changes between lines and surfaces! If the stone bridge in Jiangnan water town or Venice is torn down, although the green water still bypasses others, it completely destroys the structural beauty and formal beauty in the eyes of the painter.
The structure of the stone arch bridge itself is very beautiful: round bridge opening, square stone, curved bridge back, square and circle get along harmoniously and appropriately, and the laws of mechanics often coincide with the laws of aesthetics. However, my love for the bridge is not focused on appreciating it as a large-scale handicraft, nor on its development since Li Chun's Zhao Zhouqiao, but on its various forms and functions in different environments.
Wuzhen, Mao Dun's hometown, has dense reeds on both sides of the river. It's really airtight. Whenever a stone bridge appears in it, the seemingly suffocating reed takes a deep breath and exhales a comfortable breath. The strong arc of arch bridge or the simple straight line of square bridge are in sharp contrast with reeds.
In the early spring weather, slender willows are floating at the head of the stone bridge in the south of the Yangtze River, and slender hairsprings are blowing hard stones on the bridge. Even if you can't touch the breeze and the waning moon, the painter will be fascinated! The lake is wide and the water and sky are the same. In front of the simple and bright background, a long bridge suddenly appeared, like Wolong, with life, often hundreds of thousands of years. People cherish the beauty of this long bridge.
The fake Lugou Bridge in the Summer Palace has only 17 holes, and baodai bridge in Suzhou has 53 holes. Take a slow look by boat, and you will feel as satisfied as reading an epic. Guangxi, Yunnan, Guizhou and other provinces and mountainous areas often encounter wind and rain bridges. The bridge deck is covered with cloisters and pavilions to shelter from the rain, which is an ideal location for embellishing characters in ancient landscape paintings.
Because most of the bridges are rapids, people always stop here to enjoy waterfalls and flowing springs, and painters and photographers are bound to fight here. Zhang Zeduan regards the bridge as the * * * of the picture scroll of Riverside Scene at Qingming Festival. Because of the lively scenes of pedestrians and boats under the bridge, the strong life sentiment on the streets on both sides of the strait is also connected by the bridge to form a concentrated picture.
The development of contradictions has contributed to the drama's * * *, and the overlapping and interlacing of images constitute a rich picture. Bridges usually serve to overlap and stagger images. No wonder bridges are often encountered in paintings and photographs. At first glance, it's a bit monotonous. At the end of the path, a small bridge suddenly appeared. The reflection of the bridge is reflected in the river under the bridge, and the reflection is often punctured by duckweed and weeds.
Whether it is a wooden bridge or a stone bridge, the vertical and horizontal figure and the water waves under the bridge jointly compose a tangible and colored movement. The field is silent, and painters love to hear the bridge sing in the silence. They look for the bridge just as children look for excitement.
Between mountains and canyons, traffic depends on iron cable bridge and bamboo cable bridge. I have painted many cable bridges in Tibet, Xishuangbanna, Sichuan and other places, which are humanitarian cable bridges. In the eyes of the painter, the cable bridge is a line, an elastic line! It's hard to say what vitality an isolated line has. It is the precipitous environment that breeds the life of the bridge, and it is the various lines of rocks, trees and rapids that make the cable bridge obtain the line effect with unique vitality.
Nanjing Yangtze River Bridge is also a straight line from a distance. Is it beautiful? Is the straight line more in line with the new aesthetic? It is not appropriate to ask questions in general, nor can you answer them in general. In the treatment of art forms, it is often a small loss. In order to draw the Yangtze River Bridge, I climbed the Lion Mountain in Nanjing, just to find the points, lines and surfaces that set off, echo and extend the straight line of the bridge! In order to draw the Qiantang River Bridge, I climbed the hillside behind Pagoda of Six Harmonies twice, but I couldn't handle the relationship between the huge Pagoda of Six Harmonies and the Long Bridge, so I couldn't draw it.
Although there are many weeping willows and peach blossoms all over the mountain, how can the color of the powder affect the beauty of the structure! On Cheng Kun Road, there are many straight bridges. The train keeps crossing the bridge, entering the hole, leaving the hole and crossing the bridge, almost bridge to hole and hole to bridge. Every time we cross the circular valley, we look forward and backward. Many bridges always cut steep slopes in a straight line, sometimes they look dangerous and beautiful, and sometimes they are dangerous and unattractive. Beauty and danger are not the same thing
Photographers and painters continue to explore the beauty of bridges. Small bridges have their own beauty. Someone painted the Magpie Bridge, which is not only meaningful, but also free and lively in form.
Any image that plays a key role in composition and connection actually has the beauty of a bridge! [Edit this paragraph] Author introduction Wu Guanzhong, born in 19 19, is a modern painter in China. 1919 was born in a rural teacher's family in Yixing county, Jiangsu province on July 5.
After graduating from junior high school, Wuxi Normal University was admitted to Zhejiang University as an agent of the provincial advanced industrial vocational school. From 65438 to 0936, he transferred to Hangzhou Art Institute, where he studied Chinese and Western painting with Li Chaoshi, Chang Shuhong and Pan Tianshou.
/kloc-graduated from 0/942 and worked as a teaching assistant of National Chongqing University. 1946 went to France to study at public expense.
1947- 1950, studying oil painting in the studio of Professor Sufuerpi of Paris Institute of Fine Arts; At the same time, I studied in Lott's studio and studied art history at the Louvre Art History School with excellent results. Wu Guanzhong returned to China in the autumn of 1950.
He has taught in Central Academy of Fine Arts, Tsinghua University Department of Architecture, Beijing Institute of Art and Central Academy of Arts and Crafts. At present, he is a professor at the Central Academy of Arts and Crafts, executive director of China Artists Association and member of China People's Political Consultative Conference.
In 1950s and 1970s, Wu Guanzhong devoted himself to the creation of oil painting landscapes and explored the nationalization of oil painting. He tried to combine the intuitive and vivid description of nature in European oil paintings with the traditional artistic spirit and aesthetic ideal of China.
He is good at expressing the scenery of Jiangnan water town, such as the new green in early spring, thin mist, cottages by the water, white walls and black tiles, harmonious and fresh colors, quiet and beautiful realm, which makes the picture lyrical. Since the 1970s.