Wu Guanzhong1(吳冠中, 1919–2010)

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YOU CAN DOWNLOAD THIS PRESENTATION HERE: http://www.slideshare.net/michaelasanda/wu-guanzhong1-19192010 Thank you In 2008, Chin ese artist Wu Guanzhong donated 113 of his important works to the National Heritage Board, Singapore. This is the highest-value donation ever given to a public museum institution in Singapore. An internationally eminent artist, Wu is best known for marrying the distinct art form of traditional Chinese ink with modern concepts in Western art. Recently published as a seven-volume anthology, Wu’s writings provide deep insights into his aesthetics and art practice.

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WU GUANZHONG 1

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Born in Yixing ( 宜興 ), Wu Guanzhong traveled to Paris in 1947 to study at the École Nationale Supérieure des Beaux Arts on a government scholarship. Wu’s style reminiscent of the impressionist painters of the early 1900s with admiration for Braque, Matisse, Utrillo, Gauguin, Cézanne, Picasso, and especially for Van Gogh.  ‘Wu’s paintings have the color sense and formal principles of Western paintings, but a spirit and tonal variations of ink that is typically Chinese. Natural scenery is reduced to its essentials.’ Wu introduced aspects of Western art to his students at the Central Academy of Fine Art in Beijing, where he taught from 1950 to 1953.  He was appointed a Professor at the Central Institute of Arts and Crafts, Beijing in 1964.  In 1991 Wu was made an Officier de l’Ordre des Arts et des Lettres by the French Ministry of Culture. Do you know ( 吳冠中 , 1919–2010) is one of the best known contemporary painters of Chinese origin?  His paintings were exhibited at the British Museum in 1992, which was the first for a living Chinese artist Wu is said to have destroyed much of his early work as the Red Army approached his home in 1966. They seized his belongings and forbade him to paint or write. He then spent several years serving hard labor in a rural town. Publicly chided, he was forced to condemn his own work and ideas. As restraints loosened in the early 1970s, Wu rededicated himself to his work, focusing intently on the ancient Chinese medium of ink.

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Wu Guanzhong photographed by Chua Soo Bin, 1988

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China flower market in India, 1919 Lilac, 1991

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Spring to the North, 1996 Sold Price HKD12,400,000 (USD1,593,830)

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Wu Guanzhong Spring in South, 2006 As Wu Guanzhong, once said, “There is no boundary in terms of art; art belongs to the world, not to a certain nation or country.”

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1995 Yangtze River Delta Wu Guanzhong Attachment, 2001

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Wu Guanzhong Waves 1990

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Watertown "Whenever I am at an impasse, I turn to natural scenery. In nature I can reveal my true feelings to the mountains and rivers: my depth of feelings toward the motherland and my love toward my people. I set off from my own native village and Lu Xun’s native soil.“ Wu Guanzhong

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Lu Xun's Old Home Hometown Morning, 1960

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A See of Bamboo, 1985 Singapore Art Museum

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"Brush-and-ink is misunderstood as being the only choice for life and the future path of Chinese painting, and the standards of brush-and-ink painting are used to judge whether any work is good or bad. Brush-and-ink is a technique. Brushwork is embodied within technique, technique is not embodied within brushwork, and technique is only a means that serves the artist in the expression of his emotions." Wu Guanzhong

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"The beauty of abstract form is extracted from concrete objects and distilled according to the intrinsic qualities of the form. The art of root carving retains certain concrete aspects, and it is considered very beautiful. This is called transforming the common and useless into the marvelous and the quality of abstract beauty is foremost in creating this effect. On the other hand, we also see some artworks that transform the marvelous into something common and useless." Wu Guanzhong

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Sound of Countryside, 1993 Singapore Art Museum

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"The fundamental elements of formal beauty comprise form, color, and rhythm. I used eastern rhythms in the absorption of western form and color, like a snake swallowing an elephant. Sometimes I felt I couldn’t gulp it all down and I switched to using Chinese ink. This is why in the mid-1970s I began creating a large number of ink paintings. As of today in my explorations I still shift between oil and ink. Oil paint and ink are two blades of the same pair of scissors used to cut the pattern for a whole new suit. To nationalize oil painting and to modernize Chinese painting: in my view these are two s ides of the same face.“ Wu Guanzhong

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Pandas (1992)

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Cranes dancing, 2002

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Wisteria Select Quotes of Wu Guanzhong from Abstraction and Form, Meishu (Fine Arts) in 1992, translated by Valerie C. Doran for the exhibition catalogue Revolutionary Ink: The Paintings of Wu Guanzhong (New York: Asia Society, 2012)

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Sound : Zhan- hao Ho, Chen Kang: Butterfly Lovers Concerto (I) Text and pictures: Internet Copyright: All the images belong to their authors Presentation: Sanda Foişoreanu www.slideshare.net/michaelasanda

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