She pursues the vitality of the picture, the freehand brushstrokes and the flow of light and shadow, making her paintings colorful and strange.
Xia Junna has attracted the attention of the art world with her unique romantic painting language, her works are extremely beautiful, elegant and gorgeous, full of exoticism, reminiscent of those elegant ancient Greek maidens, free, peaceful and warm. Some people say that Xia Junna's works have a certain Rembrandt flavor in the display of light and shadow, and some people say that Xia Junna's keen perception of color is like Bonnar, Viar, Baltis and other Impressionist painters who are good at using light and color to convey their subjective emotions.
Xia Junna studied under Wen Lipeng, Ge Pengren and Wang Yuping to explore the integration of Western oil painting language and Chinese modern and contemporary culture. From CAFA Affiliated High School to CAFA Academy of Fine Arts, she has undoubtedly undergone rigorous training, and the ease revealed in her works must be the result of her long-term hard work.
One of Begonia Creek, 2010, 97x130cm
Begonia Creek II, 2011, 97x130cm
Begonia Creek No. 3, 2011, 110x140cm
Anna's Vanilla Garden, 38x50.7cm
Victoria's Garden, 25.9x35.8cm
Spring of the Four Seasons, 2012, 200x100cm
Summer of Four Seasons, 2012, 200x100cm
Autumn of the Four Seasons, 2012, 200x100cm
Winter of Four Seasons, 2012, 200x100cm
Xia Junna said that painting is a very happy thing, I never thought about what kind of impact to paint a painting, or what kind of social significance it should have, unconsciously, painting has become my way of life.
In 1995, she graduated from the Oil Painting Department of the Central Academy of Fine Arts, and her graduation work won the Excellence Award of the Central Academy of Fine Arts and the Okamatsu Family Scholarship in Japan, but she felt that her creation was still very immature - it was impactful and infectious, but the language of the picture was not purified, but the feelings were naturally expressed in a state of ignorance.
Daisy, 2012, 97x130cm
Hollyhock, 2012, 97x130cm
Gardenia Dance, 2010, 60.3x110.1cm
The Covenant of the Flower Season was written in 2012 at 30.8x40 .8cm
"Flower God" 59x80cm
"Flowers and Fertility" 2013 30.8x40 .8cm
"The Spring of Qixiakou", 2010, 110x140cm
From 1993 to 2003, it was a decade of Xia Junna's pursuit of perfection and purification of language. She realized how precious the life force was, but a particularly perfect thing, a soulless artifact, was ultimately boring. In her opinion, the sketch is realistic enough, not detailed enough, the color is not very kung fu, the infinite entanglement of these things, will only prematurely consume the love of essential life, the instinct to express.
Beautiful women with different shapes and faces, or flowers of various colors that have withered or bloomed, have always been her favorite subjects, and the results of the language she has spent ten years studying are displayed in the atmosphere of her paintings, which is a strange and familiar world with dampness, hazy, a little sadness, a little lightness, a little pleasure.
Girl 001 80x78cm
Girl 002 80x79cm
The Year of Kinsehua, 2011, 46.1x60.1cm
"The Sun", 67x80cm
The Golden Parrot and hibiscus
Some commentators have said that although her paintings are expressed by the medium of oil painting, they are full of freehand brushstrokes and the flow of light and shadow. I think this orientalized detail comes from her experience of learning Chinese painting, and Xia Junna likes to paint oil paintings with the way chinese painting is written with brush strokes. Complexity and simplicity, clumsiness and ingenuity, virtual and real, smooth and stagnant, the intensity and calmness of colors, these contrasts will make the picture more expressive, giving the painting agility and expressiveness.
The distinctive personal language, good painting feel, and strong appeal are the recognized characteristics of Xia Junna's paintings, which can be summarized in her own words, that is, flowers are not like flowers, birds are not like birds, and people are not like people. Unlike the realism, in her view, what is painted according to memory is closer to the essence than to look at the painting, she advocates the essential beauty of color, painting purely with color, first smearing large pieces of color on the canvas, and then looking for the form of the object in the color. She evokes an atmosphere, a fantasy, a reverie, a wandering thought that soars out of the sky.
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