Epidemic prevention at home, you may wish to enjoy the paintings and see the paintings in your spare time. Liu Haisu Art Museum recently launched the "Where is the Style" - the online exhibition of the group portraits of Haipai female artists to see the stars of Haipai female artists shining.
The history of ancient Chinese art has lasted for thousands of years, and few female painters can be recorded in the annals of history. From the 1930s onwards, this situation changed with the increasing number of female painters studying abroad. After the Xinhai Revolution, the trend of cultural change surged forward, the social atmosphere in Shanghai was also new, and the cultural exchanges between China and the West became increasingly prosperous. A number of fine arts colleges led by the Shanghai Art College have been established one after another, and many outstanding young female painters have been trained. In the early twentieth century, in the process of Western painting gradually moving eastward, the first generation of female painters represented by Pan Yuliang, Cai William, Guan Zilan, Tang Yunyu, Qiu Di, etc., became an emerging phenomenon of Shanghai school artistic creation.
Ban Tamara,Self-Portrait
As one of the important overseas female painters in the Republic of China period, Pan Yuliang has not only been influenced by traditional Chinese culture, but also experienced the artistic training of overseas art higher education. Self-Portraits from the 1940s was her work after returning abroad. Pan Yuliang loves to paint himself, and there are more than ten self-portraits that have been handed down to the world. Art critic Jia Fangzhou once commented on Pan Yuliang: "As the earliest gender consciousness awakener of Chinese women's art, she expresses art through continuous self-imitation, and is completely dissatisfied with male aesthetics, and her self-awakening and growth are achieved through those self-portraits." ”
The Girl in front of the Window (1944) is another portrait of Pan Yuliang. At the beginning of the twentieth century, the entire Paris School of painting was filled with melancholy tones, Chagall's "love and nostalgia", Rousseau's "simple dreams", Chang Yu's "modern poetry", all of which were the painters who combined physical and mental pain into narratives and pictures.
Tang Yunyu, who is on a par with Pan Yuliang, studied Western painting in the fine arts department of Shanghai Shenzhou Girls' School in his early years. In the 1920s, the Western painting movement began to flourish, and more than 30 female artists such as Tang Yunyu, Pan Yuliang and He Xiangning were selected for the first national art exhibition.
Created in 1930, "Portrait of a Woman" is the work of Tang Yunyu during his study in Paris. After arriving in Paris, she went to the Louvre every day to paint, filled her hunger with bread at noon, went to the painting garden in the evening to learn sketching, and was immediately admitted to the National Academy of Fine Arts in Paris to learn orthodox oil painting. "Shaohua", created in 1934, shows femininity from a unique perceptual perspective.
Tang Yunyu "Shaohua"
Tang Yunyu is very good at still life painting, and her still life works have been selected for the first national art exhibition hosted by Mr. Cai Yuanpei. She uses Impressionist colors to describe the relationship between cold and warm and the rhythm of light and shadow of hydrangeas, which can be said to inherit the essence of Western painting, but establishes a personal painting language that integrates Chinese and Western. Tang Yunyu said, "I especially feel the tone of the painting, which can express the personality of the individual."
Guan Zilan "Spring"
Born in Shanghai, Guan Zilan graduated from the Department of Western Painting at the China University of the Arts in Shanghai in 1927 under the tutelage of Chen Baoyi. In the same year, he went to Japan to study and entered the Fine Arts Department of the Tokyo Bunka Institute. In the five years in Japan, the oil painting "Daffodil" was selected for the 14th "Nikokai Art Exhibition" in Hyogo Prefecture, Japan, which is the first time that the works of Chinese female painters have been selected for the Japanese exhibition.
As one of the first female painters in China to study in Japan and accept the influence of Western Fauvism, Guan Zilan has shown a strong tendency in modern art since the 1920s, forming a unique style that integrates the charm of the East and the West, with romantic colors and feminine warmth. Created in 1930, "Spring" is Guan Zilan's early works, the two more distinctive features are heroic atmosphere and clarity and straightforwardness, she invested emotional strength to create color, with staggered lines and shapes to interpret subjective beauty.
William Tsai,"Girl"
William Cai was born in Shanghai. On June 3, 1904, Cai Yuanpei and his second wife, Huang Zhongyu, were delighted to have their eldest daughter in Shanghai and named them "William". The name "William" originates from the German "Wilhelm", pinning on Cai Yuanpei's yearning and determination to study in Germany and save the country through education. William Cai lived with his father in Germany, France and Belgium at an early age, and successively studied at the Academy of Fine Arts in Brussels and the Lyon Academy of Fine Arts, specializing in oil painting, and was hired as a professor of Western painting at the National Hangzhou Art College after returning to China.
William Tsai admired the Artistic Magnate of the Italian Renaissance, Leonardo da Vinci, believing that "a painter should depict two main things: man and man's ideological intentions." She strives to spiritualize Western modernism into her own creations, and her style of painting is close to that of French Post-Impressionism. She is known for her portraiture, with strong black and white contrasts, focusing on the portrayal of human faces, full of erotic meaning.
Qiu Di "Outside the Window"
In July 1925, Qiu Di studied fine arts at the Western Painting Department of the Shanghai Academy of Fine Arts, graduated as the second class of Western Painting students in 1928, and then went to Tokyo, Japan to study, and was deeply influenced by the late Impressionism. The paintings of the mound are quiet and lyrical, with a slight decorative style. Unlike the situation in China, when the Japanese western painting world was already the world of the new school of painting, it can be seen from Qiu Di's still life oil painting that she had largely accepted the Impressionist and Post-Impressionist styles that were popular in Japan at that time.
Art in America once commented on Chuti that each of her works is a declaration of artistic freedom, praising her life, her discoveries. These frugal still lifes, floral details are rich and intriguing... At the same time, her in-depth study of the three-dimensional space and shape of Western oil painting has enabled her to step out of the abstraction of ink painting.