Sdbwgysyqz.Pdf

Total Page:16

File Type:pdf, Size:1020Kb

Sdbwgysyqz.Pdf 定价:360.00元 ბፇॺܾๆዜ౎ٷ൪ጁႎฉ࡛ CELEBRATION FOR THE 20TH ANNIVERSARY OF THE FOUNDING OF NEW SHANGHAI UNIVERSITY ᬝᮻ̎ ˟ᎄ TAO FEIYA CHIEF EDITOR 002 㿓䄜 ĄᎲ⺉᫜̶⊣๓႒㏰ᐦθ࡭ঔᎠ喝̶⊣๓႒ࢆ➕亲㞦ᱛ䖬䄣ᆁą᭛̶⊣๓႒ࢆ➕亲౔⇖̶㞦 ᱛ⩸⮰仂⁍ϚⰤȠ ᱘⁍࣮ᆁ⮰㞦ᱛტ喏ᬌ䃦᭛ܦ⩋κ ͂㏖θ̵࡭ᎠЏȟผह᭪䊗⮰㞦ᱛ๓ტ喏䔄᭛ᑿ϶㞦ಇ ͙≭ⵑᴝ⮰ ȟ ऺ喏ួᝂᎠ䒧㇪䔇⮰ ȟ ऺ喏ЂИ౔⩋঩͙⮰᳼⃡ᬢ䬠䘩̶̺⊣๓႒ᰵⱬ㉓ ჲ⮰㖀㈧喏ᝂ᭛጑҈Ч᪅喏ᝂ᭛႒Ό⌝䕌喞Ꭲ̀喏䔅⻹㖀㈧̬Ⱐᐢ㐙ݜβ϶๕喏ጴ⩋ͷ䬠ȟस႒ͷ 䬠⮰㞦ᱛϐ≭Ϟܳ㔸ಒ䄆喏Ⱔᥦ䬚䕿喏Ⅾ㉎̹₎Ƞ ᪇̹๝ڱ᭛̬Ꮣᐬᩪ⮰೺ጮ喏Ⴏᝬ⠘ᰵ⮰䲕঩ᕓȟ࠱ქᕓБࣶᬢᅆᕓ喏ᒎ᜼β̶⊣㒺ᱛ⊢̶ ๓⅀ȟᎰ䛹̹๝䆖䓴⮰㞦ᱛ৭ᵨȠₐ⁍ᆁܦ⮰҈৭喏ь㐋̺⣜Џȟ͈᫥̺㺫᫥ȟಆႴ̺݇᫜喏ϐ㏳ 䲎౜ᆁ⹦β̶⊣㞦ᱛტ౔ᑿЏᣎ㉎⮰䲎䆸Ƞڔႄ喏Ⱔξⷜ᧊喏ॴ⣜βๆᵣȟ凈ᬺ⮰䷺ᵨ喏䒯ͦڝ β̬๓ឥф⻬⮰㞦ᱛϦ᝹喏ᰵ߇౜ᣔߔβ̶⊣㒺ᱛη͆ڧπ࡭ๆᎠᲑ喏̶⊣๓႒㒺ᱛ႒䮎ഥ 喏͆͆ڎڎ⮰ࣽᆁȠ᜽⌝⌝ᙋᔬκ⃹ᵍ౔㞦ᱛ̶ᄥ᜽⮰ᠳᑁ喏̵࡭Ꭰຮ̬ᬑ喏౔㞦ᱛᣎ㉎⮰䕿䌛̶ Ꭲ໷㏴ႄᰵ᪘⩻ͷᓯȠ স㞦ᱛⵀΌ⮰䕿䌛̶䊜ᓃᰠߌಆ჆ȟ⽟֑喏ጸ᱇̶⊣๓႒ڧᰬऺ喏⺉ᙫ̶⊣๓႒౔㞦ᱛϦ᝹ഥ ࢆ➕亲̹᫙ᣔܦф⻬ᆁ㻴喏ᠭ㐙ᩢ㫻⊣̶㞦ᱛҟ҈Ƞ 㬊⫔㸘 ͙఩㒺ᱛტࡻцޛͧፙ ̶⊣ጮ᪳㖀ͧፙ ̶⊣ጮ㒺ᱛტࡻцͧፙ Ꭰ ᰴ 003 Preface ĉ The Invitation Art Exhibition of Shanghai University Museum is the debut of the museum in the art circles of Shanghai. Whether they are distinguished masters born during the second and third decades of the 20th century, or the mainstays born in 0s and 0s, or the ambitious generation of their forties and Ņfties, all of the SarticiSating artists are closely related to Shanghai University in means of ZorNing, teaching or studying. Whatģs more, the relationshiS is still tight today, Zhich maNes it Sossible for the teachers and students to communicate kindly and sincerely with each other in order to searching for the Muse of art. As an oSen city, the uniTue nature of Shanghai such as revolutionary, inclusive and fashionable leads to the result of artistic character of Shanghai to be humble and generous, solemn and heroic. 1o matter traditional or modern, eastern or western, Sersistent or creative, the artwork on disSlay shows a coexistence and collision of various and distinguished styles, which gives a comSrehensive Sicture of the uSdate exSloration of artists in Shanghai. )or more than Ņfty years, the )ine Arts &ollege of Shanghai University has raised numerous artists of excellence, therefore Sromoted the develoSment of art in Shanghai. 'eeSly in my heart, I aSSreciate a lot of the guidance given by my Alma Mater, which helSs me to keeS humble and diligent for thirty years as one day in my exSloration of art. /ast but not least, Slease take my sincere wish of Shanghai University to be more Ņrm and determined in the training of artistic talents and the researching of art. %est wishes to Shanghai University Museum to continue collecting masterSieces of Shanghai artists and holding exhibitions of high Tuality. Shi 'awei 9iceSresident of &hina Artists Association 3resident of Shanghai )ederation of /iterary and Art &ircles President of Shanghai Artists Association May, 2014 004 㿓ⱟ 㞦ᱛ喏᭛⩋঩⮰ሳ倄䔩ⅮȠ ๓႒⮰㞦ᱛ᪅㗞সⵀ⾢ᰬᬕछБ䔩⏛ݜ Ꭰ᜼⿷⮰̶⊣ጮ㒺ᱛ̿⻽႒ᵍ喏ࢲ㏻β⹪ц⮰ऄ䓭সᬢЏ⮰⊢̶ ఩ͯڔᰵڣβ๓ឥ㒺ᱛ݇҈ȟ䃪䃍সⵀ⾢Ϧ᝹喏⊸⣜β̬χڧ⹨喏႒ᵍ̶ͦ⊣఩䭱ࡂ๓䘩ጮ⮰㏻≺স᪳ࡂᐦ䃪ഥ⋍ 㜟఩䭱ᒝ৹⮰㞦ᱛტ喏݇҈ܦβ๓䛻ф⻬⮰㒺ᱛ̺㞦ᱛ䃪䃍҈৭喏ᄥ᣼ࡳ̶⊣⮰೺ጮ᪳ࡂᒎ䆍҈ܦβ䛹㺭䉍⡚Ƞ ϶Ꭰ᭛᫜̶⊣๓႒㏰ᐦθ࡭ঔᎠ喏̶⊣๓႒㏰᜼㒺ᱛ҈৭ᒭ䯲ༀ঄ц喏ጸ᱇ᄲ̶⊣๓႒᪅ጴȟᵍࣷБ̶ࣶ̺⊣ ৭҈ܦȠ᱘⁍ᆁ㻴ᆁܦज़ऺ⮰㻲㻾̷喏౔ࢲञ⮰Ꮋ͙݃ⅳ㖆সᆁٴᰵ⌶⎼⮰㞦ᱛტИ⮰㇪ᓯͷ҈喏౔̬͖ឫڣ๓႒ ⣜ᬘ⮰㞦ᱛݹ䒴喏΋ᰵ౔ᵍЧ㕸᜼㐕᪼♢⮰᪅ጴ喏䔄ᰵ䃤ๆϺ̶⊣๓႒䊣ₑ喏ڗ⮰҈㔱喏ᬎᰵጞ㏻䔬нȟ⩆㜟Ꭰ䕪 ౔ጞ㏻ह␍๕̷⮰Ნܦ㞦ᱛტȠ䔅χ㞦ᱛტИБᑿЏჍ㒺㻮স݇䕌߇喏⩔㜖ጝ⮰᝹ᗱসᕉᘟ᣻㐄ⱬ⣜ЏϦИ㒺ຩ⮰ ᰵ⌝䔈⮰ࢲञᘻ͵Ƞڣ喏Б㜖ጝ⠘➥⮰᫥ᐻ㶔䓪ЂИᄥ͂⩸⮰䃐䃲Ƞᬌ⪽䔅͖ᆁ㻴ᄥӯ䔇̶⊣๓႒㞦ᱛ᪅㗞̺݇҈≦⩋ 㶣ᓯᙋ䅎ᝬᰵ̶ͦ⊣๓႒㞦ᱛ᪅㗞ȟ㞦ᱛ݇҈ȟ㞦ᱛⵀ⾢҈ܦ̹छ⸔▙⮰䛹㺭䉍⡚⮰㞦ᱛტИ喏ऽҌИ㜠᪘Ƞ 㔿⽋ㅽ ̶⊣๓႒ᵍ䪫 Ꭰ ᰴ 005 Preface Ċ Art is the noble Sursuit of life. The earliest education and study of art in Shanghai University dates back to the Shanghai Fine Arts School established in 1959. Through the change of society and the test of time, the school has trained a large number of talents sSeciali]ed in the creating, designing and researching in the field of fine arts for the economic and cultural develoSment of Shanghai as an international metroSolis. 2014 is the 20th anniversary of the founding of new Shanghai University. Shanghai University had set uS an Artwork &ollection &ommittee to collect and disSlay the masterSieces made by teachers, graduated students and those related to the university in a sustainable SersSective and a historical order. Some of the artists are the Sredecessors already retired from the university and even in their eighties, some are among the faculty with remarkable achievements, and some are outstanding and world-famous artists who started their career from Shanghai University. Under the guidance of contemSorary aesthetics and creative ideas, the artists are Sainting the haSSy life of SeoSle nowadays with their own thoughts and feelings. There is no doubt about the far-reaching historical inņuence on art education and creation of Shanghai University exerted by the exhibition. We would like to thank and honor the artists for their indelible signiŅcant contributions to the education, creation and research of art for Shanghai University. Luo Hongjie President of Shanghai University May, 2014 006 ⥀䍚㦬䈐 ጚ̹ๆ̬Ꭰݹ喏΋ᅝ᭛ Ꭰ⮰᭑๕喏᜽Иᐬ໷もܾ̬⁍䲎ऽᵍࣷ⮰㒺ᱛ҈৭ᒭ䯲≧ߔȠᑿᬢ⮰ᘟ∁᭛౔ 喏ᰠ䛹㺭⮰᭛̶ͦ⊣๓႒ࢆ➕亲ᩢ㫻̬ឥ㞦ᱛ҈৭Ƞڸ⩧᱘̬❵ܦ๓႒ᵍᎲͷ䭱ͪߊ̬⁍ᆁ㻴ȟ⊢̶ ำⰤᑿ⮰჊߇喏ᄥκ̬Ꮣ㐨ऴᕓ⮰๓႒㔸㼬喏᠑ᰵ㒺ᱛ႒䮎䔅ᵣ̬͖➥㞞凈ᬺ̀᜼ᅝࡿڣ๓႒౔㒺ᱛ᫥䲎⊢̶ 㦃᪼♢⮰႒䮎喏᭛ᐦ䃪႒ᵍࢆ➕亲⮰Ჭͦछ䉡⮰䉰⎼喏΋᭛᜽Иもܾ᱘⁍ᆁ㻴⮰ദ⵬Ƞ᜽Иጸ᱇㘩๋䕆䓳̬⁍̺㞦 ᱛტ⮰Ⱐ䲎ᣑ㼒喏ᐬज़ࢆ➕亲㞦ᱛᩢ㫻⮰๓䬔喏䔼⌼̶ͦ⊣๓႒⼛㉛䊣㞦ᱛ䉎ჸȠ Ч㒺ᱛ҈৭ᒭ䯲ༀ঄цͧЧ喏Ꭲܦ߇ᩛᠭ喏➥ݗᙋ䅎㒃ᵍ䪫Ϟ㜖ڔ᜽И⮰䃪ᘟᓃݜκԍⅳΒ䃜ȟ㒃ႻᲜᵍ䪫⮰ ᎻȠᰪЧᝂ⣜Ч㒺ᱛ႒䮎䶲ᄨ⮰㫇ᔃ㞛Β䃜ȟ䗝⦊᩻䮎䪫ȟᑌഥ⵬䮎䪫ȟ↖๓ы䮎䪫ȟ䭴❝⣹Β䃜ふ喏҈ڸ⩧ᆁ㻴ͦ 䘩㐅δ᜽И䲊፤छ䉡⮰ᠳ᪅Ƞ 㞦ᱛ݇҈喞᜽ڑ䔅̬Ꭰ䛸喏᜽И⮧䬔ऽϗ㾵㞦ಇ⮰㔭㞦ᱛტⅮ᪅喏ЂИ㇪⺊⳹䧰喏㕁㕄̹Ւ喏ᄲϦ⩋⮰ਞ⤲㲹 И᠈䃫β≧䋯⮰㞦ಇ͙ಆ喏ЂИ⮰Ϧ⩋㏻ࢲ᭛ຮₐ㞜䓇喏ѲϹ౔̹᫙⾭ⵠ㜖᜽喏߇ప჊⣜⠘ᴽ̬ፈ⮰㞦ᱛ䷺ᵨ喞᜽ И䔄̺̬㓐ᘻ⅀䷺ࣽ⮰Ꭰ䒧㞦ᱛტӯ㛉ϐ≭喏ЂИ⌝ᕉ͙఩㞦ᱛ⮰ᐢ㐙݇᫜喏ᄧឪऴ䔮⮰㞦ᱛࣽᆁ䕿䌛Ƞ㏻䓳̬Ꭰ ⮰ఇ࡭ๆѹ㞦ᱛტ࣮ᆁ喏ЂИ⮰Ꭰ咰䬠䯀ࡶ͖͂㏖喏Ђ⩋ܦ⮰ߖ߇喏᜽И䖬䄣ݜ ͂㏖ ᎠЏ㜟 ͂㏖ ᎠЏ ᭛㞦⩸ݹ䒴И⮰ᐦ䃚ऺ喏᜽Иᄲ᱘⁍ᆁ㻴ڢसͷะ᭛ᝂๆᝂᄽ䘩̶̺⊣๓႒ᰵⱬ㖀㈧Ƞ౔क़ंर᫥ᘻ㻭ȟᅐڝИ⮰ ⮰҈৭喏㮩♢ͧ䷄̹̬ȟ䷺ᵨरᐮ喏ڱ჆हͦĄ̶⊣๓႒ࢆ➕亲㞦ᱛ䖬䄣ᆁąȠᆁ㻴ⅳ㖆͙఩⩧ȟ⇥⩧ȟ䰁ൽȟ❴⩧౔ 䯲͙ᆁ⹦ЂИ⮰҈৭喏᭛ᄥ̶⊣๓႒㒺ᱛ᜼ᅝ⮰̬⁍ఊ䶪喏΋᭛ᄥ̶⊣๓႒ࢆ➕亲᱖Ბ㞦ᱛᆁ⹦ڱ⾦Ѳ౔䔅ᵣ̬͖ᬢ ⮰̬⁍ᕉ㔯Ƞ ふݹ䒴㞦ᱛტ喏Бࣶᝬᰵ࣮ᆁ⮰ᵍࣷ㞦⩋ٴ⊕ȟ「Ⅴ⩋ٴ⩟ȟᑌ㜖⩋ٴȟᐂ◛Ὅ⩋ٴȟ᳃ᰒᬺ⩋ٴᙋ䅎䭴ҕ⻷ ѿसϭ㶣ᓯᙋ䅎ҌИ善ڔᱛტᄥ᜽И⮰ԍЧসᩛᠭȠ⇍ᰵҌИᠳᄨস࣮̺喏ᅝ⇍ᰵ䔅⁍᜼ߋ⮰⩧ᆁȠࢆ➕亲 ⩋ٴ⩻ፙȟ̶⊣ጮ᪳㖀ͧፙȟ̶⊣ጮ㒺ᱛტࡻцͧፙ᫩๓ͧޛᵍࣷ喏͙఩㒺ᱛტࡻцܦᙋ䅎̶⊣๓႒⮰Ნڢᅐ Ꮋ喏ҫ᱘⁍ᆁ㻴䓪ݜᒴ倄⮰㞦ᱛⅠ۲Ƞ҈ڸ⩧ͦۃ౔⮪ᔅͷ͙࣮ᆁᎢ᠔ ᜽И䔄㺭ऽᑌഥ⵬᪅ᢴ㜠Б䄆ᡆ⮰䅎ᘻ喏ᑌ᪅ᢴᄥ᜽Иもᆁ͙⮰⃻̬͖䛹㺭⣛㞮䘩㐅δβᖵᓯᠳᄨȠᙋ䅎⢷ߨ 喏ͦ⩋ٴ⊕⮰䃪䃍もܾ᣼Ӈβ䄤ๆ჉䉡⮰ᘻ㻭Ƞᙋ䅎ᒼⅳ㞦ᱛ亲亲䪫喏΋᭛̶๓㒺䮎ᵍࣷ⮰਼ڸ⩧䴟᪅ᢴͦᆁ㻴ȟ ᱘⁍ᆁ㻴⮰䶦ݕᐬᎁ᣼Ӈर᫥䲎⮰ፚߕȠ सᵣᙋ䅎亲䪫ߕ⤲䘙俑喏Бࣶᱺԍͷȟҁሜȟᑌ⁏ȟᰥ各㏰᜼⮰Ꭰ䒧ఎ䭋喏ͦ᱘⁍ᆁ㻴ᝬЄܦ⮰䓇ߟসᮦᚓȠ 䕆䓳᱘⁍ᆁ㻴᜽Иᰵ⤲⩝Ⱔԍ喏౔ᵍࣷИ⮰ᩛᠭ̷̶⊣๓႒ࢆ➕亲ᄲ䓺Ბ㒺ຩ⮰᱖ᲑȠ 㲶⳪䁨 もᆁϦȟ̶⊣๓႒ࢆ➕亲喋ゥ喌亲䪫 007 &uratorģs Words About one year ago, namely in the sSring of 201, we started to curate a collection of artworks made by the alumnus and alumna of the university. The original idea was to hold an exhibition on the anniversary of the founding of new Shanghai University, to Sublish an exhibition catalogue, and more imSortantly, to collect a number of artworks for Shanghai University Museum. Shanghai University has a considerable strength in the Ņeld of Ņne arts. For a comSrehensive university, Fine Arts &ollege with such distinctive characteristics and remarkable achievements is indeed an extremely valuable resource for building a university museum, and also the basis for holding this exhibition. We hoSe to oSen the door to the art collection of the museum and gradually build the wealth of art for Shanghai University through our direct contact with the artists. 2ur SroSosal has received fully suSSort from Mr. <u ;inhui, the secretary of &P& &ommittee of Shanghai University, and Mr. Luo Hongjie, the Sresident of Shanghai University. We are Sarticularly grateful that President Luo acted as the director of the Artwork &ollection &ommittee in Serson and wrote a Sreface for the exhibition catalogue. In addition, the former and current leaders of the Fine Arts &ollege , including Secretary ;ue =hiliang, 'ean 4iu 5uimin, 'ean =hang Peichu, 'ean Wang 'awei and Secretary &hen Ai]hen, have all given us very valuable guidances. Throughout the whole year, we Said visits to renowned old artists and asked for their advices. They are hale and diligent, haSSy to mix life lessons into creation of art. We visited the active dominant forces of art, who continued to break their boundaries and tried their best to establish artistic style of their own, desSite of the fact that they had exSerienced many difŅculties in life. We also talked with a bunch of vigorous young artists who were Sondering over the inheritance and innovation of &hinese Art while seeking uniTue style of art. After a year of hard work, we invited 44 artists who were born between the 1920s and 1970s to join the exhibition. Although they are of different generations, they do share one thing in common that they are all related to Shanghai University in some way. After considering oSinions from all asSects, we decided to name the exhibition Invitation Art Exhibition of Shanghai University Museum. The exhibition has gathered various kinds of works together, including &hinese Saintings, oil Saintings, sculStures and Srint works. Although they are of different themes and styles, the gathering of the works in the same time and sSace could act as a review of the artistic achievements of Shanghai University as well as an exSloration of art exhibition in the future. We aSSreciate the trust and suSSort from our elder artists such as Mrs. &hen PeiTiu, Mr. Lin ;iming, Mr. Liao -iongmo, Mr. =hang =ishen and Mr. =hang <onghao, as well as the other artists who joined the exhibition. The exhibition would have not been so successful without your guidance and SarticiSation. All my museum colleagues and me hereby give our most sincere thanks to you all! We also would like to sincerely thank Mr. Shi 'awei, the distinguished alumnus of Shanghai University, the vice-Sresident of &hinese Artists Association and the Sresident of Shanghai Artists Association, for his SarticiSation in the exhibition and writing a Sreface for our catalogue, which truly elevated the artistic level of the exhibition.
Recommended publications
  • The Storm Society Primary Sources in Translation from Shanghai Modern
    The Storm Society Primary sources in translation from Shanghai Modern The Storm Society. Guan Liang. Mount Xiqiao. 1935. Oil on canvas; 50.5 x 57 cm. National Art Museum of China, Beijing. Guan Liang. Seated Nude. 1930. Oil on canvas; 60.5 x 45.5 cm. Private Collection. (Shanghai Modern, p. 183). Chen Baoyi. Scenery of West Shanghai. 1944. Oil on canvas; 44 x 52 cm. National Art Museum of China, Beijing. (Shanghai Modern, p. 184) Yan Wenliang. Red Sea. 1928. Oil on paperboard; 179 x 25.7 cm. National Art Museum of China, Beijing. (Shanghai Modern, p. 185). Ni Yide. Portrait of a Lady. 1950s. Watercolor on paper; 31.5 x 275 cm. China Academy of Art, Hangzhou. Situ Qiao. Lassoing Horses. 1944. Oil on canvas; 59 x 99 cm. National Art Museum of China, Beijing (Shanghai Modern, p. 188). Chen Qiucao. Sawing Wood. 1936. Oil on canvas; 67 x 67 cm. National Art Museum of China, Beijing. (Shanghai Modern, p. 189). Chen Qiucao. Flowers in the Trenches. 1940. Oil on canvas; 45.6 c 61 cm. National Art Museum of China, Beijing. (Shanghai Modern, p. 191) LEFT: Pang Xunqin. Winter. 1931. Oil on canvas; 47 x 36 cm. Private Collection. RIGHT: Qiu Ti, Shanghai View. 1947. Oil on canvasl 46 x 38 cm. Artist’s family. (Shanghai Modern, pp. 194-95). Chen Chengbo. Beach of the Putuo Mountain. 1930. Oil on canvas; 60 x 72 cm. (Shanghai Modern, p. 199). Liu Haisu (1896-1994). Girl Draped in Fox Fur. 1919. Oil on canvas; 60 cm x 45.5 cm.
    [Show full text]
  • Tiancheng Press Release
    PRESS RELEASE FOR IMMEDIATE RELEASE TIANCHENG INTERNATIONAL’S SPRING AUCTION OF MODERN AND CONTEMPORARY ART WILL BE HELD ON 6 APRIL 2013 AT HONG KONG Hong Kong, 28 February - Tiancheng International will present its Spring SaLe of Modern and Contemporary Art on 6 April at The Connaught Room, 1/F of Mandarin Oriental Hong Kong. Seeking to promote the thread of Chinese culture and traditions, Tiancheng International attempts to demonstrate the artists’ contribution of their inheriting and spreading traditional Chinese aesthetic spirits. Inspired by the musical arrangement, the auction is divided into three sections including Overture, Concerto and Symphony to present the development of Chinese Modern and Contemporary Art over the course from the early 20th century till nowadays. Public preview will start from 4 to 5 April at Hong Kong. THE FIRST SECTION – OVERTURE Around the 1920’s, the Qing Dynasty came to an end and the Republic of China was established. Many of those with aspirations flocked to the West to study Western art, building up a robust “New China”. From then on, a series of art revolutions started off. The advocate of art magazines, the birth of many Western art groups and the establishment of specialised art institutions all conceived the tone set for the development of China’s modern art education in the early 20th Century. In particular, as an advocate of “East meets West” and creative freedom, the Hangzhou Arts School paved the way for the eXtension of China’s art history onto far- reaching cultural axes. In the midst of all the collisions between East and West, they composed a passionate overture for the first half of the 20th century.
    [Show full text]
  • Jean-Auguste-Dominique Ingres, Attr., Seated Male Nude Seen from the Rear, First Decade of the Nineteenth Century (?)
    Philippe Cinquini Jean-Auguste-Dominique Ingres, attr., Seated Male Nude Seen from the Rear, first decade of the nineteenth century (?) Nineteenth-Century Art Worldwide 19, no. 1 (Spring 2020) Citation: Philippe Cinquini, “Jean-Auguste-Dominique Ingres, attr., Seated Male Nude Seen from the Rear, first decade of the nineteenth century (?),” Nineteenth-Century Art Worldwide 19, no. 1 (Spring 2020), https://doi.org/10.29411/ncaw.2020.19.1.5. Published by: Association of Historians of Nineteenth-Century Art Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. License: This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License Creative Commons License. Cinquini: Jean-Auguste-Dominique Ingres, attr., Seated Male Nude Seen from the Rear Nineteenth-Century Art Worldwide 19, no. 1 (Spring 2020) Jean-Auguste-Dominique Ingres, attr., Seated Male Nude Seen from the Rear, first decade of the nineteenth century (?) by Philippe Cinquini During the winter of 2019–20, the Shanghai Museum hosted a major loan exhibition of late eighteenth-century and early nineteenth-century French academic art called La Naissance des Beaux-Arts (The Birth of the Fine Arts). [1] To the eighty-five works borrowed from France, the Shanghai Museum was able to add a single work from its own collection: an academic drawing of a seated male nude, probably dating from the early years of the nineteenth century (fig. 1). The drawing, long attributed to Jean-Auguste-Dominique Ingres, has been in the possession of the museum since 1977, but it had never been shown by the institution before.
    [Show full text]
  • 1 Xu Beihong
    1 The Asian Modern © John Clark, 2013 Xu Beihong (1895-1953) Chronology of Xu Beihong [simplified after Boorman, 1967-79; Wang & Xu, 1994 [the most detailed chronology]; Low &Chow, 2008; Xu & An, 2009] 1895 July 19, born in Jiangsu, father a schoolmaster and craftsman who taught painting, family of three boys and one girl. 1904 began to study painting with father, copied Wu Youru’s illustrations for lithographic pictorial Dianshizhai Huabao. 1908 fled from flood in Yiying with father. 1912 father ill, went to Shanghai and studied Western painting at Shanghai Drawing and Fine Arts Academy but left after several months due to lack of money. Returned to Yixing, where married due to parental order. Became painting and drawing instructor at a middle school. 1913 1914 father died, went to Shanghai. 1915 went back to Shanghai did illustrations and advertising. First met Jiang Biwei 将碧微, began study of French. Asked Gao Jianfu and Gao Qifeng for instruction. 1916 met painter and educationalist Zhou Xiang. Entered Zhentan University (Université Aurore), continued study of French. 1917 First wife died of illness. Married Jiang Biwei, with whom later two children. May, went to Tokyo with Jiang Biwei where studied painting until November when returned to Shanghai because could to pay his expenses. December, Kang Youwei wrote him a letter of introduction to Beijing. 1918 January, received a scholarship from North Sea Government in Beijing to study in France. March early, through Cai Yuanpei (1868-1940) became tutor at Painting Research Institute of Peking University. 1919 March 20, left Beijing with Jiang Biwei for France.
    [Show full text]
  • UC San Diego Electronic Theses and Dissertations
    UC San Diego UC San Diego Electronic Theses and Dissertations Title Abstract Art in 1980s Shanghai / Permalink https://escholarship.org/uc/item/16g2v1dm Author Jung, Ha Yoon Publication Date 2014 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA, SAN DIEGO Abstract Art in 1980s Shanghai A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Art History, Theory, and Criticism by Ha Yoon Jung Committee in charge: Professor Kuiyi Shen, Chair Professor Norman Bryson Professor Todd Henry Professor Paul Pickowicz Professor Mariana Wardwell 2014 The Dissertation of Ha Yoon Jung is approved, and it is acceptable in quality and form for publication on microfilm and electronically. ____________________________________________________________________ ____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ Chair University of California, San Diego 2014 iii TABLE OF CONTENTS Signature Page ………………………………………………………………....……. iii Table of Contents ………………………………………………………….…...……. iv List of Illustrations …………………………………………………………………... v Vita ……………………………………………………………………….……….… vii Abstract ……………………………………………………….………………..……. xi Chapter 1 Introduction ……………………………………………………….……………….. 1 Chapter 2 Abstract
    [Show full text]
  • Urban Demolition and the Aesthetics of Recent Ruins In
    Urban Demolition and the Aesthetics of Recent Ruins in Experimental Photography from China Xavier Ortells-Nicolau Directors de tesi: Dr. Carles Prado-Fonts i Dr. Joaquín Beltrán Antolín Doctorat en Traducció i Estudis Interculturals Departament de Traducció, Interpretació i d’Estudis de l’Àsia Oriental Universitat Autònoma de Barcelona 2015 ii 工地不知道从哪天起,我们居住的城市 变成了一片名副其实的大工地 这变形记的场京仿佛一场 反复上演的噩梦,时时光顾失眠着 走到睡乡之前的一刻 就好像门面上悬着一快褪色的招牌 “欢迎光临”,太熟识了 以到于她也真的适应了这种的生活 No sé desde cuándo, la ciudad donde vivimos 比起那些在工地中忙碌的人群 se convirtió en un enorme sitio de obras, digno de ese 她就像一只蜂后,在一间屋子里 nombre, 孵化不知道是什么的后代 este paisaJe metamorfoseado se asemeja a una 哦,写作,生育,繁衍,结果,死去 pesadilla presentada una y otra vez, visitando a menudo el insomnio 但是工地还在运转着,这浩大的工程 de un momento antes de llegar hasta el país del sueño, 简直没有停止的一天,今人绝望 como el descolorido letrero que cuelga en la fachada de 她不得不设想,这能是新一轮 una tienda, 通天塔建造工程:设计师躲在 “honrados por su preferencia”, demasiado familiar, 安全的地下室里,就像卡夫卡的鼹鼠, de modo que para ella también resulta cómodo este modo 或锡安城的心脏,谁在乎呢? de vida, 多少人满怀信心,一致于信心成了目标 en contraste con la multitud aJetreada que se afana en la 工程质量,完成日期倒成了次要的 obra, 我们这个时代,也许只有偶然性突发性 ella parece una abeja reina, en su cuarto propio, incubando quién sabe qué descendencia. 能够结束一切,不会是“哗”的一声。 Ah, escribir, procrear, multipicarse, dar fruto, morir, pero el sitio de obras sigue operando, este vasto proyecto 周瓒 parece casi no tener fecha de entrega, desesperante, ella debe imaginar, esto es un nuevo proyecto, construir una torre de Babel: los ingenieros escondidos en el sótano de seguridad, como el topo de Kafka o el corazón de Sión, a quién le importa cuánta gente se llenó de confianza, de modo que esa confianza se volvió el fin, la calidad y la fecha de entrega, cosas de importancia secundaria.
    [Show full text]
  • The Art Market in 2020 04 EDITORIAL by THIERRY EHRMANN
    The Art Market in 2020 04 EDITORIAL BY THIERRY EHRMANN 05 EDITORIAL BY WAN JIE 07 GEOGRAPHICAL BREAKDOWN OF THE ART MARKET 15 WHAT’S CHANGING? 19 ART BEST SUITED TO DISTANCE SELLING 29 WHO WAS IN DEMAND IN 2020? AND WHO WASN’T? 34 2020 - THE YEAR IN REVIEW 46 TOP 500 ARTISTS BY FINE ART AUCTION REVENUE IN 2020 Methodology The Art Market analysis presented in this report is based on results of Fine Art auctions that oc- cured between 1st January and 31st December 2020, listed by Artprice and Artron. For the purposes of this report, Fine Art means paintings, sculptures, drawings, photographs, prints, videos, installa- tions, tapestries, but excludes antiques, anonymous cultural goods and furniture. All the prices in this report indicate auction results – including buyer’s premium. Millions are abbreviated to “m”, and billions to “bn”. The $ sign refers to the US dollar and the ¥ sign refers to the Chinese yuan. The exchange rate used to convert AMMA sales results in China is an average annual rate. Any reference to “Western Art” or “the West” refers to the global art market, minus China. Regarding the Western Art market, the following historical segmentation of “creative period” has been used: • “Old Masters” refers to works by artists born before 1760. • “19th century” refers to works by artists born between 1760 and 1860. • “Modern art” refers to works by artists born between 1860 and 1920. • “Post-war art” refers to works by artists born between 1920 and 1945. • “Contemporary art” refers to works by artists born after 1945.
    [Show full text]
  • Chinese University Bulletin Number Three 1986
    Chinese University Bulletin Number Three 1986 The Chinese University B ulletin is an official publication of The Chinese University of Hong Kong published, five issues a year, by the Secretariat for free distribution to members and friends o f the University. C ontents News Exhibition and Symposium on Contemporary Chinese Painting . ...................... 1 International Colloquium on Yao Studies................. ............................................... 3 News in B rie f........................................................................ ......................... .. .5 Recent Developments Department of Anthropology..................................................................................9 Career Destination of 1985 Graduates................................................................... 13 Academic / Cultural Events Seminars • Exhibitions ............................................................................................15 P ro file s .............................................................................................................................17 P e rso n a lia ................... .................................................................................................... 18 Gifts and Donations................................................................... ......................................19 Cover: L i Reran, Learning Calligraphy Advisory Committee on Chinese University Bulletin Professor D.C. Lau Mr. Jacob S.K. Leung Professor S.W. Tam Professor Yeung Yue-man E d ito r:
    [Show full text]
  • Searching for Yield in Real Assets
    ORBIT-OnlineRepository ofBirkbeckInstitutionalTheses Enabling Open Access to Birkbeck’s Research Degree output Searching for yield in real assets https://eprints.bbk.ac.uk/id/eprint/40263/ Version: Full Version Citation: Velez, Tara Michelle (2017) Searching for yield in real assets. [Thesis] (Unpublished) c 2020 The Author(s) All material available through ORBIT is protected by intellectual property law, including copy- right law. Any use made of the contents should comply with the relevant law. Deposit Guide Contact: email Searching for Yield in Real Assets Tara Michelle Velez PhD Thesis Birkbeck, University of London 22nd June 2017 1 Abstract Three empirical chapters addressing investments in real, alternative assets are presented in this thesis. Chapter 2 focuses on fine art as an investment. In recent years, the art market has been characterized by final auction prices greatly exceeding the ex- ante estimates published by international auction houses. We define this difference as a rarity premium and build a ‘Rarity Index’ by aggregating the premia relative to the mean. We also investigate the benefits, outside financial performance, associated with art ownership and introduce the term of ‘ownership yield’, meant to encapsulate both aesthetic yield and features of conspicuous consumption. This ownership yield may account for the large differences between the values of rarity indexes we construct for three famous families of paintings over the period 2003 to 2013. In Chapter 3, we turn our attention to residential real estate in alpha cities. We argue that relative price changes in prime property markets have greatly deviated from non-prime markets on a national level, while similarities across prime markets in different countries have increased.
    [Show full text]
  • 1. an Introduction to the Development of Western Painting. When Did People Start Painting?
    Hong Kong Visual Arts Appreciation – Web-based course for secondary school teachers (Painting) Author: Ivy LIN 1. An Introduction to the Development of Western Painting. When did people start painting? This question is fundamental yet complex. In the West, the earliest known wall paintings from as early as 15,000-10,000 B.C. were discovered in the Altamira Cave in Spain (Fig. 1) and in the Lascaux Cave in France (horse) (Fig.2). These wall paintings demonstrate how people from the Stone Age began painting vivid and life-like representations of objects through careful observation. Primitive Western paintings were used in religious rituals, and as painting developed, religious art became central to Western art. Most ancient Western paintings were painted on vessels or on the walls of caves. They had several functions: chronicling history, glorifying certain deeds and prayer. Stone Age cave paintings principally depict scenes of herding and hunting, whereas paintings on tomb walls from the Egyptian and Assyrian Empires show mythological representations and scenes of everyday reflecting man’s quest for eternal life. The introduction of the “foreshortening” technique1 (Fig. 3) in early Greek art marked one of the major accomplishments of Archaic Greek art. It laid the foundation for perspective adopted by later painters and paved the way for the use of an objective, rational and analytic method to represent nature. The Roman Empire adopted the fine artistic traditions of Greece as exemplified by Christian painting which began to flourish in Europe during the time of Emperor Constantine. Byzantine mosaic art was followed by Gothic stained glass in the Middle Ages.
    [Show full text]
  • Art Market Trends 2010
    ART MARKET TRENDS 2010 TM THE WORLD LEADER IN ART MARKET INFORMATION Art Market Trends 2010 p 5. Editorial p 7. Roller coaster p 8. Post-War and Contemporary Art in the global market p 8. 2010: Renewed competition p 10. A mixed return for Contemporary signatures: the “successes” of Hirst, Murakami and Koons p 12. China: the new global leader p 13. New York vs. Beijing p 14. Catching up on Old Masters and imposing their Contemporary artists p 15. France’s place in the art world: doomed to decline p 18. Art Market Confidence Index – 2010, a positive year p 21. Twitter: 2010 in 140 characters p 22. Top 10 Artists p 30. Top 100 auction performances in 2010 p 32. Top 500 artists by auction revenue in 2010 3 ART MARKET TRENDS 2010 Editorial In the words of Thierry Ehrmann, the After the previous art market meltdown founder and CEO of Artprice, the world in 1991, it took 4 years of patience before leader in art market information, China’s prices began to recover. This time round it accession to the lead- took only 18 months. ing position in global Fine Art sales repre- During the past decade, two strong sents an “electroshock trends have emerged: firstly we have seen in the history of the a veritable mutation in the commerce of global art market...”. art. The market’s structure has changed It took just three years with the evolution of Internet (with the ac- for China to jump celeration of online sales), the competition from third place (pre- generated by the more than 2601 art fairs Thierry Ehrmann viously occupied by organised each year around the world and France) in 2007 to first place in 2010, ahead the importance of investors and invest- of the UK and the USA, the grand masters ment funds in the market.
    [Show full text]
  • Art Market Trends 2010
    ART MARKET TRENDS 2010 TM THE WORLD LEADER IN ART MARKET INFORMATION Art Market Trends 2010 p 5. Editoria l p 7. Roller coaster p 8. Post-War and Contemporary Art in the global market p 8. 2010: Renewed competition p 10. A mixed return for Contemporary signatures: the “successes” of Hirst, Murakami and Koons p 12. China: the new global leader p 13. New York vs. Beijing p 14. Catching up on Old Masters and imposing their Contemporary artists p 15. France’s place in the art world: doomed to decline p 18. Art Market Con!dence Index – 2010, a positive year p 21. Twitter: 2010 in 140 characters p 22. Top 10 Artists p 30. Top 100 auction performances in 2010 p 32. Top 500 artists by auction revenue in 2010 3 ART MARKET TRENDS 2010 Editorial In the words of Thierry Ehrmann, the After the previous art market meltdown founder and CEO of Artprice, the world in 1991, it took 4 years of patience before leader in art market information, China’s prices began to recover. This time round it accession to the lead- took only 18 months. ing position in global Fine Art sales repre- During the past decade, two strong sents an “electroshock trends have emerged: !rstly we have seen in the history of the a veritable mutation in the commerce of global art market...”. art. The market’s structure has changed It took just three years with the evolution of Internet (with the ac- for China to jump celeration of online sales), the competition from third place (pre- generated by the more than 2601 art fairs Thierry Ehrmann viously occupied by organised each year around the world and France) in 2007 to !rst place in 2010, ahead the importance of investors and invest- of the UK and the USA, the grand masters ment funds in the market.
    [Show full text]