Ink on paper; 27.3 x 24.1 cm.
Qi Baishi (simplified Chinese: 齐白石; traditional Chinese: 齊白石; pinyin: Qí Báishí; Wade–Giles: Ch'i Pai-shih) (January 1, 1864 – September 16, 1957) was an influential Chinese painter.
Born to a peasant family from Xiangtan, Hunan, Qi became a carpenter at 14, and learned to paint by himself. After he turned 40, he traveled, visiting various scenic spots in China. After 1917 he settled in Beijing.
He is perhaps the most noted for the whimsical, often playful style of his watercolor works.
Some of Qi's major influences include the early Qing Dynasty painter Bada Shanren (八大山人 or Zhu Da) and the Ming Dynasty artist Xu Wei (徐渭).
His pseudonyms include Qí Huáng (齊璜) and Qí Wèiqīng (齐渭清). The subjects of his paintings include almost everything, commonly animals, scenery, figures, toys, vegetables, and so on. He theorized that "paintings must be something between likeness and unlikeness, much like today's vulgarians, but not like to cheat popular people". In his later years, many of his works depict mice, shrimp or birds.
He was also good at seal carving and called himself "the rich man of three hundred stone seals" (三百石印富翁).
In 1953 he was elected to the president of the Association of Chinese Artists. He died in Beijing in 1957. One of his paintings, Eagle Standing on Pine Tree, was sold for 425.5 million yuan ($65.5 million) in 2011, becoming one of the most expensive paintings ever sold at auction.
en.wikipedia.org/wiki/Qi_Baishi
Tags: qi baishi painter 20th century chinese 1931 1930s monkey contemplating peach christie's ink paper animal monkey traditional
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Watercolour, ink, graphite and paper collage; 68 x 63 cm.
Born in Beijing, Liu Wei is regarded as one of the most talented artists in the Chinese contemporary art milieu. With a major in printing, Liu graduated from Central Academy of Fine Arts in 1989. He currently lives in Beijing. He has attended the 45th Venice Biennial, the Second Saint Paul Biennial and “Mao, Toward Pop” Exhibition in Australia in 1994. He has also attended Chinese New Artist Exhibition, Germany in 1995, and “China!” Exhibition, Germany in 1996, and “Made in China-Contemporary Chinese Art” Exhibition, Berlin, Germany in 1998.
In the early 1990s, Liu Wei and Fang Lijun created an artistic style known as “cynical realism.” What “cynical realism” focuses on is a reality in which the self is insignificant, largely stemming from the experiential reality of one’s self and one’s surroundings, poking fun at things that are supposedly “serious” and “significant.”
The works tend towards mockery of the outside world in an earnest assessment of the widespread sense of boredom and aimlessness in contemporary reality. There is no fixed direction or standardization in Liu’s works as they are all products of his own psyche. The style of the works changes almost annually and while his output is not excessively prolific, there is no repetition, each one is different from the last. He practices his art through a sort of purely natural artist’s intuition and that intuition derives from his own life experiences. Consequently his art comes off as genuine and trustworthy.
“When I paint I have great respect for my own inner feelings, using my own way and methodology in interpreting a scene as I see it and everybody can tell at a glance I painted it,” Liu says. “Only when a painter paints with real feeling can he stir the emotions of the viewer; and only then can beauty be discussed.”
He does not define himself through any particular geographical region or school of thought, smashing boundaries, shunning imitation, shunning deconstruction; he brings everything he possibly can to the table. His pursuit is of that sort of natural beauty that transcends Eastern and Western culture, causing those two artistic forces to tend toward a muddling as one while achieving unity in form and content. This sort of trans-globalism ultimately brewed up the one-of-a-kind Liu Wei style of art.
He does not define himself through any particular geographical region or school of thought, smashing boundaries, shunning imitation, shunning deconstruction; he brings everything he possibly can to the table. His pursuit is of that sort of natural beauty that transcends Eastern and Western culture, causing those two artistic forces to tend toward a muddling as one while achieving unity in form and content. This sort of trans-globalism ultimately brewed up the one-of-a-kind Liu Wei style of art.
www.linlingallery.com/eng/artist_introduce.php?id=17
Tags: liu wei painter 21st century contemporary chinese 2005 2000s portrait no. 11-7 private collection watercolor ink graphite paper collage portrait expressionism drawing
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Oil on canvas; 140 x 180 cm.
Duan Jianyu was born in 1970, and works and lives in Guangzhou. The brushwork and color in Duan’s work bizarrely bring us to a blurry and slightly annoying place. Her paintings recall a boundary that is mentally non-tangible in our daily lives. Yet they precisely recall the feeling of living in modern China: dynamic and tacky. Maybe the haunting “tackiness” is the product of our pursuing modernization.
Duan Jianyu’s work has been exhibited in: Face, Mingsheng Art Museum, Shanghai, China, 2012; Nostalgia East Asia Contemporary Art Exhibition, Korea Foundation, 2011; ChinaChina China! Sainsbury Centre For Visual Arts, UK,2009; Farewell to Post-Colonialism–the Third Guangzhou Triennial, Guangdong Museum of Art, Guangzhou, China, 2008; China Welcomes You …Desires, Struggles, New Identities, Kunsthaus Graz, Graz, 2007; Octomania, Para-Site Art space, Hong Kong, 2006; 50th International Art Exhibition of the Biennale di Venezia, Venezia, 2003; GwangJu Biennale, Korea, 2002, etc. Duan Jianyu was also the winner of the Chinese Contemporary Art Awards 2010, Best Artist.
en.cafa.com.cn/rockbund-art-museum-presents-the-duo-show-...
Tags: duan jianyu painter 21st century contemporary chinese female 2014 2010s poem 2014 private collection nude surrealism
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40in x 30 in.
Lu obtained a degree in oil painting from Shandong University of Arts and studied at China Central Academy of Fine Arts. His awards in China and internationally include the Outstanding Award for Graduation Work from China Central Academy, the Japanese Art Association Award, the National Outstanding Award in Oil Painting (China), and the China National Art Exhibition Award of Excellence. His works are in the China National Museum and the Museum of Japan, and have been exhibited in Los Angeles, the Nagasaki Prefectural Museum, and the Fukuoka Art Museum. Lu first visited the US in 1995 and held his first exhibition in 1999. He also exhibited his paintings at the Weinstein Gallery in San Francisco. Currently, he lives in Danville, California with his wife and son.
Lu describes his art with the word “Symmetrism” to fully express all his feelings to the world. The very essence of his Symmetrism art is balance and equilibrium. A steady horizontal line and a vertical straight line connecting heaven and earth denote stability, universality, and mental spirituality. All his creative spirit comes from the source of a central line of symmetry, which inspires his creativity to expand and bear everything he is in pursuit of.
cis.stanford.edu/~marigros/show82.html#artist3
Tags: lu jianjun painter 20th century 21st century contemporary look into the mirror private collection portrait figure portrait nude realism
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Scroll, mounted and framed, ink and colour on paper; 113 x 66 cm.
Fu Baoshi (Chinese: 傅抱石), or Fu Pao-Shih, (1904-1965) was a Chinese painter from Xinyu, Jiangxi Province. He went to Japan to study the History of Oriental Art in the Tokyo School of Fine Arts in 1933. He translated many books from Japanese and carried out his own research. In painting itself, he brought Japanese visual elements to the Chinese ink painting tradition.
He was the Director of the Jiangsu Province Chinese Painting School and a Vice-Chairman of the Federation of Chinese Artists. He also taught in the Art Department of Central University (now Nanjing University). His works of landscape painting employed skillful use of dots and inking methods, creating a new technique encompassing many varieties within traditional rules. He was able to create an old, elegant style through his integration of poetic atmosphere and painting techniques. He has held many personal exhibitions in China and has won favourable comments.
Fu had strong feelings towards the land of China. During his travel to many places, he recorded the splendors of the rivers and mountains, drawing inspiration from nature and becoming the representative landscape painter of his time.
en.wikipedia.org/wiki/Fu_Baoshi
Tags: fu baoshi painter 20th century chinese 1945 1940s the song of the pipa player christie's million scroll ink paper traditional leisure landscape group
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