Gao Jianfu, Gao Qifeng, the founders of the Lingnan School of Painting, and others proposed pen and ink innovation, breaking the antique and conservative painting style since the late Qing Dynasty and early Ming Dynasty, and completing innovation and development. Guan Shanyue was also deeply influenced by this artistic thought.
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Guan Shanyue's creation is based on the foundation of traditional culture, drawing on Western art, using the era as the background to express emotions around landscape painting. Guan Shanyue is second to none in the Lingnan School with his unique painting style, and is the representative painter of the second generation of the Lingnan School.
The masters of landscape painting have their own styles, Zhang Daqian's landscape paintings focus on landscape topography, Fu Baoshi emphasizes artistic conception, and Guan Shanyue's works contain the atmosphere of life. In the study of painting, Guan Shanyue went deep into life, collected materials, sometimes created while sketching, and created personal exhibitions along the way.
Therefore, the charm expressed in Guan Shanyue's works is different from others, and if you appreciate the works of most painters, you will feel some spiritual expression that does not eat fireworks in the world, while Guan Shanyue's works will make people think of cute life scenes, as if they have their own homes in the depths of the wild forest, and there are fireworks at the foot of Yunshan Mountain.
Expressing life does not mean being classified as a folk painting, Guan Shanyue is known as a master of art, he embodies life and is higher than life, so that the object through the fusion of subjective thought, truly completed the personal maturity of the creation, which is its valuable point.
Guan Shanyue and Fu Baoshi collaborate on "So Many Delicate Rivers and Mountains"
Hanging in the Great Hall of the People, the huge landscape painting "So Many Delicate Rivers and Mountains" is a work created by Guan Shanyue and Fu Baoshi for the new Great Hall of the People in Beijing in 1959, representing the artistic conception of Mao Zedong's "Qinyuan Spring and Snow".
Guan Shanyue and Fu Baoshi cooperate with the old film
Although the painting styles of Guan Shanyue and Fu Baoshi belong to the Jinling School and the Lingnan School respectively, in the process of creation, the two always respect each other's strengths and borrow from each other, and strive to integrate Guan Shanyue's meticulous and soft Lingnan style with Fu Baoshi's unrestrained and profound style, "there must be no slightly weak and powerless performance".
In Guan Shanyue's view, Fu Baoshi is not only a respectable partner, but also a like-minded friend, after the cooperation they met, in the spring of 1961, Fu Baoshi and Guan Shanyue entered Beijing again, thinking that the previous cooperation was somewhat hasty, there are places that can be improved, come to discuss and repaint. At that time, the prime minister heard about it and thought that the original work was still good. The redrawing was shelved.
Guan Shanyue and Fu Baoshi collaborate on "Yayi"
Later, the two went to the northeast to visit sketching together. The sketch lasted nearly four months, and the two traveled all over Jilin, Yanbian, Changbaishan, Harbin, Mudanjiang, Jingbo Lake, Shenyang, Anshan, Qianshan, Fushun, Luda and other places, during which they painted more than 100 painting manuscripts. After the grand tour, the two jointly held a sketch exhibition and published "Fu Baoshi and Guan Shanyue Northeast Sketch Selection".
Past Highlights:
Zhu Yingren: A new Zhejiang school painter who painted squirrels to witness the ecological circulation of Xizi Lake for decades
Leaving aside the "firm" person of the "Aisin Kyora" signboard, the calligrapher Qi Gong
A hundred years later, he donated paintings but was rejected - Huang Binhong, the lonely artistic life