Wu Guanzhong6 (吳冠中, 1919–2010)

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YOU CAN DOWNLOAD THIS PRESENTATION HERE: http://www.slideshare.net/michaelasanda/wu-guanzhong6 Thank you Wu received artistic education in the Hangzhou National Arts Academy under guidance of such famous painters like Pan Tianshou (1897–1971) and innovative and impressionistic artist and educator Lin Fengmian (1900–1991) in the early 20th century. In 1947, Wu went to Ecole Nationale Supérieure des Beaux Arts of France. He also became the only one who decided to go back to an uncertain China to become “a plum blossom in the winter of one’s hometown instead of a rose in an already prosperous garden of others”.

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WU GUANZHONG 6

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Apart from being exhibited in the British Museum (a rare tribute to living Asian artists), Metropolitan Museum, China National Art Museum and other major galleries, Wu also was made Officier de l’Ordre des Arts et des Lettres by the French Ministry of Culture in 1991 and became the first Chinese artist to be awarded the Médaille des Arts et Lettres by the Académie des Beaux-Arts de l’Institut de France in 2002. Unimpressed by the global trend of commercialization in arts, Wu donated most of his works to Singapore Art Museum and Hong Kong Art Museum. Wu is also famous for his outspoken criticism of the contemporary artistic scene of China, with such quotes as: “100 Qi Baishi the painter cannot substitute for one Lu Xun the critic”, “exploring one’s own feeling is like getting pregnant, one has to run about to get it”,  ”the whole society is becoming shallow and crass, publications, galleries, exhibitions, you’d better call it rice-bowl scramble”. Wu Guanzhong (1919-2010)

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Pinus Taiwanensis

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Da Zhu River, Sichuan

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“Abstract beauty is the heart of the beauty of figurative art. It is a natural thing to which we all respond. As a child loves to play with a kaleidoscope, so everyone likes pure form and color.” Wu Guanzhong

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Rural houses of Guilin

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Montmartre

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A family by the gorge

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Scenery of Guilin, 1973

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During the Cultural Revolution in the mid-1960s Wu was banned by the government from painting and writing about art for seven years; many of his early works were destroyed. His family said he was forced to read the works of Chairman Mao to "correct his ideology".

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Old Chongqing, 1997

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In 1970, Wu and his wife were sent to separate areas of the countryside to do manual labour. These were years of famine and social and political chaos in China, but despite the privations Wu managed to sketch or paint expressive landscapes – including pictures of chrysanthemums, sparrows and mountains, lakes, mulberry trees and fishing boats. Pavilion beside the lotus pond Reeds by the Li River

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Water fall

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Waterfall

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

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Lion Grove Garden, 1990 Lion Woods, 1983 Dress Up

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Mountain Bamboo, 1975

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The Li River, 1976 (Detail)

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The Li River, 1976

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The Charm of Lotus Pond, 2002 Lotus under the sun, 2001

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A banana graden of Xishuangbanna 1978 Love in Fangzhuang 2002

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New City, 1996

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Painting Jiangnan5

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Pines, 1995

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Reflections, 1990

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The Ruins of Gaochang II, 1987 (His painting “the ruins of Gaochang” was sold on 1.87 million Hong Kong dollars, which sets the record to the international price of Chinese Painting from the living artists) Chinese courtyard

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Wall, 1993

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White Poplar Woods Lofty mountains and pine Fishing boats

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Fishes in the Suzhou garden

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A mountain village of Xibaipo

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1989 1994

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The opening ceremony of Wu Guanzhong Museum of Art in Yixing

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A statue of Wu Guangzhong stands in front of the museum

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Leaving Youth Behind, 2009

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Hong Kong Museum of Art

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Sound : Vanessa Mae - I Will Always Love You Text and pictures: Internet Copyright: All the images belong to their authors Presentation: Sanda Foişoreanu www.slideshare.net/michaelasanda

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