The similarities and differences between the artistic characteristics of Xu Beihong and Lin Fengmian

1. Xu Beihong:

1. Different: the picture has a strong sense of three-dimensionality;

2. Same: The style of Chinese painting is obvious, and the composition adopts the more traditional composition method of Chinese painting.

2. Lin Fengmian:

1. Different: The picture pays attention to the color feeling, which is usually thick and gorgeous;

2. Same: Based on Chinese painting, pay attention to the changes in ink and color.

Xu Beihong is known as the founder of modern art education in China, he advocated the development of the improvement of "traditional Chinese painting", based on Chinese realist art, and put forward the "Theory of Improvement of Chinese Painting" in the context of the decadence of modern Chinese painting.

They are all masters of modern painting who combine the past and the present, and the combination of Chinese and Western.

Lin Fengmian, dotted gouache combined. Like.

Xu Beihong combines the chiaroscuro characteristics of Western sketching with Chinese painting. Note resemblance.

It's in the encyclopedia, it's very detailed, let's see for yourself.

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In terms of painting techniques and styles.

As one of the important founders of modern art education in China, Lin Fengmian adheres to the academic idea of "eclecticism" and the artistic path of "integration of East and West".

In terms of the artistic conception style of painting.

Lin Fengmian has witnessed the suffering of national culture and the twists and turns of the country, and his art is always desolate, lonely and bitter.

Because of the experience of the painter, his painting style looks sad and lonely, empty and lyrical.

Xu Beihong is one of the important representatives of Chinese painting in the 20th century, and he believes that art first requires authentic expressiveness, and conveys emotions and thoughts through the depiction of human forms and expressions. He pays attention to the shaping and depiction of the national image, and emphasizes the social responsibility and humanitarian spirit of art.

In a century, there are three major trends of thought in the innovation and inheritance of Chinese painting. What do the painters represented by Lin Fengmian advocate? What do the painters represented by Qi Baishi Zen Calendar and Pan Tianshou advocate?

Dear Hello I'm glad to answer for you, with Xu Beihong as the representative of the gesture has long been no painter's claim"Blazing realism"。Xu Beihong (1895-1953): Xu Beihong is one of the important representatives of Chinese painting in the 20th century, and he believes that art must first have a realistic expressiveness, and convey emotions and thoughts through the depiction of human forms and expressions.

He pays attention to the shaping and depiction of the national image, and emphasizes the social responsibility and humanitarian spirit of art.

The painter represented by Lin Fengmian advocated it"A vivid lyrical mood"。Lin Fengmian (1900-1991): Lin Fengmian was an outstanding artist of Chinese painting in the 20th century, who devoted himself to the artistic exploration of Chinese painting, integrating traditional Chinese painting techniques with Western painting concepts, and pursuing the unity of expression and spirituality.

His works are known for their freedom, agility, and artistic conception, emphasizing the transmission of breath and artistic conception.

Painters represented by Qi Baishi and Pan Tianshou asserted"Freehand flowers and birds"Style, Qi Baishi (1864-1957) and Pan Tianshou (1898-1967): Qi Baishi and Pan Tianshou were both important figures in 20th-century Chinese painting. It emphasizes the expression of the artist's inner emotions and artistic conception through free sketching and brushwork.

They innovate on the basis of traditional flower and bird paintings, pursue the combination of form and spirit of celebration, and pay attention to the individuality and expression of art. Their work is full of life and a unique personal style.

In general, Xu Beihong advocates realism, Lin Fengmian advocates lyrical artistic conception, Qi Baishi and Pan Tianshou advocate freehand flowers and clever birds, and add personal style wide piggy and empty Wang innovation to it.

After returning to China in 1927 until the outbreak of the Anti-Japanese War, Lin Fengmian successively took charge of the Beiping Art School and the Hangzhou Art School, so he mainly focused on art education and social activities, and in terms of creation, he painted more oil paintings before the early 30s, facing the suffering of reality, his works have a strong humanitarian color, and the style does not deviate from the influence of European expressionism, and his representative works such as "Humanity" (1927), "Human Suffering" (1929), "Sorrow" (1934), etc., while he did less Chinese painting at that time.

From 1933 to 1938, the proportion of Lin Fengmian's Chinese paintings gradually increased. His artistic attention has begun to shift to the academic and theoretical direction of Chinese painting, and he has implemented it in his creative practice: he tries to integrate Western experience with Chinese tradition in terms of style, color, and space treatment, so as to realize the ideal of "reconciling China and the West" that he had brewed during his stay in France.

During this period, he successively completed "The Future of Eastern and Western Art", "New Theory of Chinese Painting", "The Future of Chinese Painting We Hope", etc., and put forward the principle of transformation: absorb new methods from the West, and abandon the copying and use of Chen Chen Xiangyin. Specifically, there are three important areas that need to be changed:

One is to take nature as the object, seeking the expression of quality, color, character and purification; the second is to improve the materials, techniques and methods of painting, and pursue free personalized depiction; The third is to conduct basic training in the scientific method and seek the basis for creation from the correct reproduction of objects. It can be said that because Lin Fengmian does not have much of a traditional painting background, he does not care about the baggage and constraints of tradition, so his so-called "Wild Fox Zen" can enable him to not only lose the "sympathy of understanding", but also retain enough objectivity and rationality, and the prescriptions he prescribes can bring a ray of vitality to the accumulated Chinese painting.

The two paintings here are outstanding examples of his early work, and although they are gifts to friends, they are by no means comparable to ordinary social works, and they perfectly reflect the results of his personal exploration. In addition, very few of Lin's early works have survived, and the materials on silk are only seen in the 30s, such as "Autumn Journey" in 1930 in the collection of the Museum of Fine Arts, Boston, "White Egret" in 1930 in the Guangdong Museum of Art, "Three Herons" in 1932 from the collection of Mei Jielou, and "Plum Crane Family Style" in 1931 from the collection of Hong Kong Art San Gallery.

--Original--- Original--- Original--- Original--- Original--First of all, these three painters are all great painters with Western education.

Liu Haisu is the founder of the Shanghai Academy of Fine Arts, which was also the first school in Chinese history to have a more systematic Western education model.

Xu Beihong is studying in France. He was recommended by Kang Youwei at that time. It can be said that his study abroad is thanks to the Westernists in China at that time.

During my study abroad, I systematically learned Western academic techniques. His drawings and paintings are very realistic. After returning to China, he directly applied Western sketches to Chinese painting.

Xu Beihong's horse, which we can often see, is a typical example. The anatomy and skeleton of the horse almost all follow Western techniques. That's why his horse looks so energetic and energetic.

This is beyond the reach of traditional Chinese painting. Similar practices include Jiang Zhaohe's "Foolish Gong Moving Mountains", a painting that is more familiar to Chinese. In fact, there are two versions of this painting, one is a Chinese painting in Xu Beihong's art tube, and another is an oil painting, which can be seen from the comparison of these two paintings.

Speaking of Liu Haisu In fact, Xu Beihong was also his student, but Xu Beihong's political power and wide acceptance of painting overshadowed his teacher. And the two did not meet for a period of time after the founding of the People's Republic of China for various reasons. Liu Haisu's art was influenced by Western Impressionism.

He was also more open to all kinds of schools. His paintings, such as Notre-Dame de Paris, show obvious traces of Impressionism.

Lin Fengmian is a Chinese painter. This is the same as Xu Beihong's identity, but the difference is that his works are not simply Western sketches into Chinese paintings. He went even further.

Formal innovation Post-Impressionist simple geometric lines have a decorative taste. The modern elements of the West are skillfully integrated into the Chinese painting. The series of ladies he painted have such characteristics - original--- original--- original--- original--- original

It's Lin Fengmian. Lin Fengmian is an advocate, pioneer and the most important representative of the artistic ideal of "integration of East and West". He absorbed the cultivation of modern painting after Western Impressionism, combined it with traditional Chinese ink painting and realm, and integrated it into his personal life experience.

He is a painter who has approached the "ideal of harmony and spiritual fusion between East and West". Appreciated and supported by Cai Yuanpei, a leading scholar in the academic world, he became the first president of the National Academy of Art (the predecessor of the current China Academy of Art), the first higher art institution in China. He is one of the main founders of art education in China and early and modern times, advocating the idea of "inclusiveness and academic freedom", and recruiting talents without sticking to one pattern.

Lin Fengmian (November 22, 1900 - August 12, 1991), whose family name was Shaoqiong, was later changed to Fengmian, painter, art educator, and the first president of the National Academy of Art (now renamed the China Academy of Art). [1]

He has loved painting since childhood. Representative works include "Spring Sunshine", "Riverside" and "Ladies". He has successively served as the President of the National Beiping Art College, the President of the National Academy of Arts, and the Vice Chairman of the Shanghai Branch of the Chinese Artists Association.

At 10 o'clock on August 12, 1991, Lin Fengmian died of complications of heart disease and pneumonia at the Hong Kong Adventist Hospital at the age of 91.

Xu Beihong, Lin Fengmian and Liu Haisu are the most important representatives of the artistic ideal of "integration of East and West". He absorbed the nourishment of modern painting after Western Impressionism, combined it with traditional Chinese ink painting and realm, and integrated it into his personal life experience. He is a painter who has approached the "ideal of harmony and spiritual fusion between East and West".

Lin Fengmian is a modern art educator in China, advocating the educational idea of "inclusiveness and academic freedom", and recruiting talents without sticking to one pattern.

Lin Fengmian devoted his life to the fusion of Chinese and Western painting traditions, creating his own unique artistic style. Born in 1900, died August 12, 1991. He was 91 years old.

The reason why Lin Fengmian is called"The father of modern Chinese painting"It is because of his in-depth exploration in artistic creation that he has successfully created a new style of Chinese painting, which has reference significance for the innovation of contemporary Chinese painting.

Lin Fengmian's line of fortune is against the aesthetic standards of "strength through the back of the paper" and "astringency" advocated by traditional painting, and the use of smoothness, speed and sharpness has formed his painting style. At the same time, he also absorbed the characteristics of traditional porcelain painting, breaking through the line drawing rules of traditional freehand painting. The teacher made a special mention of him during the lesson.

Here are a few of his works. Hope it helps.

Lin Fengmian's art works are characterized by a sad, lonely, empty, and lyrical style; From the formal point of view, one is the square composition, and the other is that his paintings have distinctive characteristics, which the viewer can see at a glance.