(Introduction: Guo Qingxiang: Chen Yifei is still using the classical realism technology that has been eliminated by the Mainstream of the West, the artistic point of view is quite backward, the work has no large collection value, bought his imitation Western classical "photo paintings" of these "picking up people's teeth and wisdom", which is an ignorant collection. )
What is tradition? What is considered good and excellent today, and what can be regarded as a legacy of tradition, was an artistic innovation in that era. Today's painters paint Impressionism again, and then paint some classical technical realism, that is, repeating the creations of predecessors. To put it bluntly, there is nothing wrong with painters selling paintings to support their lives, and to say that he is an artist is to scare people.
Chen Yifei's works have no collectible value
It's not that we don't want to promote local artists, it's because many artists don't create works with independent artistic value.
Chen Yifei was good friends with me when he was alive, but I never collected his paintings, he understood me. As a painter of the current era, he is still using the classical realism techniques that existed hundreds of years ago and have now been eliminated by the mainstream of the West, these are not his discoveries and creations, the artistic point of view is quite backward, the works have no large collection value, and he is not proud to buy these imitation Western classical "photo paintings" that "pick up people's teeth and wisdom", which is an ignorant collection.
In terms of the Wu Dayu system, which occupies an important position in the history of modern painting in China, on the basis of Western modern art ideas, he has integrated the spirit of Chinese culture and created new art with the characteristics of the times, and the artistic thought is unique and the pattern is grand, however, over the years, our relevant cultural institutions and theoretical circles have really attached importance to him?
Assembly line art creation
At present, there are many extremely abnormal phenomena in domestic art creation and art market, such as many painters who buy whose official positions are big when they hear that the bosses see whose official position is big, and they desperately compete for administrative positions such as the chairman, vice chairman, dean, and vice president of the Art Association that have nothing to do with art. Of course, the quality of art is not measured by official titles, and we should have this understanding.
In fact, from this purpose to compete for official positions, for the sake of monetary gain, can these chairmen and deans promote real art? On the other hand, some of the newly wealthy don't really understand what real art is, only that they don't look like it, they don't look pretty, and they don't work fine.
To some extent, the bureaucrats in the art world almost work for them like craftsmen, handing over tasks, and "artistic creation" has led to the strange phenomenon of assembly line production. What do these phenomena have to do with art? And the consequence of all this is to the detriment of real art.
What is true art and what is pseudo-art?
Really good art has independence, how can real art be described as a drug? Now that some domestic collectors have broadened their scope of collection to the international field, improving their ability to distinguish artistic quality, excellent Western artworks have always been the goal of global collectors, and now we have the ability to collect these works.
In the future, I think Chinese collectors can further devote themselves to collecting original works and fine works from the East and the West that conform to the laws of artistic development in each period, and collect the works of painters who occupy an important position in the history of world art to enrich the collection system. Because, Chinese vision and heart have always been broad.
Through more than thirty years of tempering in the art market, some Chinese collectors have significantly improved their understanding of the value of art, and with the broadening of their collection horizons, they have learned what is a good work and what is a bad work; what is real art and what is pseudo art, and should be happy for the improvement of their understanding, rather than treating art as a drug. After all, in the most powerful era of China in history, its vision was extremely open.
Buying Western art is the "Opium War"?
The excellent art of China and foreign countries in each era is the crystallization of human culture, the Metropolitan Museum of Art in the United States, the British Museum, the Louvre Museum in France, etc. all display the great artistic creations of ancient China, although many things are plundered, but the works themselves are still respectfully displayed to the world - Oriental culture is also an integral part of world civilization.
With the strength of the country, enterprises have economic strength, whether it is Western or domestic good works, we can collect through legal means, the purchase of Western art can fill the domestic in the display of the world's other cultural shortcomings.
Chinese collectors have recently included Monet, Picasso and other modern and contemporary art masterpieces in the international market, and I found that there was also a view that some people used Chinese collectors to buy Western art in the international market as "Opium War" to describe, I think this metaphor is debatable, and even can be said to be ignorant, is art a drug?
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Source: Art Wars