Preface
Oil painting came from the West, and after several generations of artists' research and creation, it has become a visual carrier for expressing Chinese cultural themes and expressing Chinese ideas and concepts, and has become a language for expressing the cultural feelings of Chinese painters. In the context of the intersection of global cultures, Chinese oil painting needs to find its own direction of development. In recent years, a large number of oil painters have attached importance to carrying forward traditions, stopping at the local level, exploring and creating at the cultural and spiritual level, reflecting a new cultural consciousness. "Freehand oil painting" is a new academic phenomenon of contemporary Chinese oil painting, and also reflects the new cultural choice of Chinese oil painters.
The essential support and inner academic ideal of "freehand oil painting" is the "freehand spirit", which is also the fundamental driving force for many painters to continue to invest in exploration. As an important feature of the Chinese artistic tradition, the connotation of "freehand" is broad and profound, including the integration of man and nature, self and the world, and also shows the linguistic characteristics with oriental cultural attributes. On the one hand, many artists devote themselves to nature, stop in the hot land, step on the land of China's mountains and rivers, face the rich real life, and express a distinct sense of reality in their works; on the other hand, they strive to draw nourishment from the ideological concepts and visual methodologies of traditional Chinese culture, reverse the impact and influence of the image era on the painting language, and carry out the inheritance and exploration of practice in the academic context, thus forming the rich individual achievements and the overall atmosphere of the "freehand oil painting" school.
Biography
Fan Di'an, born in Fujian in 1955, was the vice president and professor of the Central Academy of Fine Arts, the director of the National Art Museum of China, the vice chairman of the China Artists Association, the director of the Professional Committee of the National Art Museum, the director of the China Oil Painting Society, and the member of the National Committee of the Chinese People's Political Consultative Conference. He is engaged in 20th century Chinese art research, contemporary art criticism and exhibition planning, and art museum research. He has served as the curator of the Chinese National Pavilion of the Venice Biennale, the Sino-French Cultural Year, the Sino-Italian Cultural Year, the Shanghai Biennale and other exhibition projects. He is currently a member of the Cultural, Literature, History and Study Committee of the 13th National Committee of the Chinese People's Political Consultative Conference, and the president of the Central Academy of Fine Arts.
Appreciation of paintings
▲"Pingtan Daifuku Bay" size: 200X120cm
Created in: 2018
▲ "Kill the Tiger Mouth Ancient Great Wall" size: 200X300cm
Created in: 2017
▲ "Plum Blossom East Lake" size: 200X130cm
▲"Killing Tiger Mouth Ancient Great Wall" Size: 150X200cm
▲"Hongkeng Village RushengLou" size: 200X130cm
▲ "Versailles Sunset Photo" size: 50X60cm
Created in: 2014
▲ "Laterite Green Source" size: 162X124cm
▲"Winter Snow on the Outskirts of Beijing" Size: 80X65cm
▲ "Early Spring in Western Fujian" size: 100X80cm
▲Size of "Qingming": 100X80cm
▲ "Yellow Cliff Off" size: 100X85cm
Created in: 2013
▲"Yellow River - Qiankun Bay" size: 100X160cm
▲"Winter Taihang" size: 80X110cm
▲"Summer Solstice" size: 60X70cm
▲ "Backlight" size: 60X70cm