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Wright Ku 0099M 11899 DATA QIU TI’S CONTRIBUTIONS TO JUELANSHE AND THE INTERSECTION OF MODERNIST IDEOLOGY, PUBLIC RECEPTIVITY, AND PERSONAL IDENTITY FOR A WOMAN OIL PAINTER IN EARLY TWENTIETH-CENTURY CHINA BY Copyright 2011 AMANDA SUE WRIGHT Submitted to the graduate degree program in Art History and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ________________________________ Chairperson, Marsha Haufler ________________________________ Kuiyi Shen ________________________________ John Kennedy ________________________________ Megan Greene ________________________________ Maki Kaneko Date defended: November 21, 2011 The Dissertation Committee for Amanda Sue Wright certifies this is the approved version of the following dissertation: QIU TI’S CONTRIBUTIONS TO JUELANSHE AND THE INTERSECTION OF MODERNIST IDEOLOGY, PUBLIC RECEPTIVITY, AND PERSONAL IDENTITY FOR A WOMAN OIL PAINTER IN EARLY TWENTIETH-CENTURY CHINA ________________________________ Chairperson, Marsha Haufler Date approved: November 21, 2011 ii ABSTRACT Despite her pioneering actions as one of the first female oil painters in China, Qiu Ti (丘 堤, 1906-1958) remains on the periphery of China's modernist art movement. This dissertation repositions her to the center of a lively early twentieth-century dialogue about new roles for women in China's art world. Focusing on her involvement with the influential art group Juelanshe (决澜社,often translated Storm Society), this study reassess her professional identity and the impact her membership had on the 1930s Shanghai art community. Examining contemporary magazines, essays on modernist art theories, art group manifestos, and the author’s own interviews with the artist's children, this dissertation sheds new light on Qiu Ti’s contributions. It demonstrates that, though her career ended early, the daring Qiu Ti embraced new styles and genres of modernist art with the same adventurous spirit as her male colleagues. iii ACKNOWLEDGEMENTS Thank you to my advisor Marsha Haufler, a formidable yet patient editor, for her unflagging encouragement and confidence in me. My gratitude also goes to the other members on my committee: Professors John Kennedy, Megan Greene, Maki Kaneko, and Kuiyi Shen. Thank you for generously donating your time and energy to my educational success. Classes taken with Professors Amy McNair and Sherry Fowler also played a fundamental role in my completion of this degree and I extend my gratitude to them as well. To all my friends and classmates as well as the faculty and staff in the Art History Department at the University of Kansas: Thank You! In particular, the kind assistance of Maud Humphrey and Karen Brichoux has been invaluable. Thank you to my two early mentors: Marilyn Gridley, my first teacher of Chinese art history at the University of Missouri at Kansas City; and Charles Lachman, my advisor for a M.A. at the University of Oregon. If not for you, I would not have dreamed of pursuing this degree. My heartfelt appreciation goes to Qiu Ti’s descendents, in particular Professor Pang Tao, Pang Jiun, and Lin Yan, who provided much guidance and encouragement as I conducted my research. I gratefully acknowledge the substantial funding I received and without which the research for my dissertation would not have been possible: the Louise Wallace Hackney Fellowship for the Study of Chinese Art, sponsored by the American Oriental Society in 2010; a Summer Research Fellowship from the University of Kansas Office of Research and Graduate Studies in 2009; a 2009 grant from the Metropolitan Center for Far Eastern Art Studies of Kyoto, Japan; a Kress Foundation Department of Art History Dissertation Research Travel Grant in 2009; and a 2009 travel grant from the Harvard-Yenching Library at Harvard University. iv Finally, a special thank you to my family and closest friends, without whose unfailing support this degree would not have been possible. Most of all, my deep gratitude goes to my parents, to whom this dissertation is dedicated. They will always be my role models in life, love, and happiness. v LIST OF IMAGES 0.1 Qiu Ti. From Cheng Shuhua and Philip Tinari, ed. Schudy (Nanjing Shi: Jiangsu jiao yu chu ban she, 2006). 0.2 Pang Xunqin, Sons of Earth, lost. Dazhong huabao 12 (Oct. 1934): 22. 0.3 Ni Yide, Summer, 1932, oil on canvas, reprinted in Kuiyi Shen, “The Lure of the West: Modern Chinese Oil Painting,” In Julia Frances Andrews, Kuiyi Shen, and Jonathan D. Spence, eds. A Century in Crisis : Modernity and Tradition in the Art of Twentieth- Century China (New York: Guggenheim Museum: Harry N. Abrams, 1998): 175. 1.1 A youthful Qiu Ti years before she met Pang Xunqin. From Cheng and Tinari, Schudy. 1.2 Fang Junbi, Nude (Renti 人体), Meishu shenghuo 4 (Jul 1934): 5. 1.3 Pan Yuliang, Landscape of the Tsien Tang River, (Qiantang jiangpan 钱塘江畔), “The Young Companion's Series of Contemporary Paintings by Chinese Artists Section II [O]CCIDENTAL: NO.8” Liangyou 93 (1934). 1.4 “Exposition of Storm Society Paintings,” Shidai huabao (Nov 1933). 1.5 “Juelanshe jiang 决澜社奖” Shidai huabao 5.4 (Nov 1933). 1.6 Liangyou 90 (Jul 1934): 14. 1.7 “Literature and Art Pictorial: Comparison with the Ancient Books” (Yishu huabao: guben duizhao 艺术画报：古本对照) Xiaoshuo yuebao (July 1934). 1.8 Dazhong huabao 13 (Nov 1934): 33. 1.9 “Juelanshe de yi qun jiqi zuopin 决澜社的一群及其作品,”Qingnian jie 8.3 (Oct 1935). 2.1 Qiu Ti, Flower, oil on canvas, lost. From Pang Tao, ed. The Storm Society and Post- Storm Art Phenomenon (Taipei: Chin Show Publishing Co., Ltd, 1997): 35. 2.2 Qiu Ti, Two Camellias. Published in Cheng and Tinari, Schudy. 2.3 Qiu Ti, Wild Chrysanthemums. Published in Cheng and Tinari, Schudy. 2.4 Qiu Ti, Mushrooms (lost). Published in Cheng and Tinari, Schudy. 2.5 Qiu Ti, Doll. Published in Cheng and Tinari, Schudy. vi 2.6 Upside-down Pang Xunqin painting in Liangyou exhibition review (bottom center). Liangyou 82 (1933): 30. 2.7 Ni Yide's solo exhibit, Meishu shenghuo 7 (Oct 1934): 12. 2.8 Wang Yachen 汪亚尘, The paeonia albiflora 芍药花 and Wu Hengqin 吴恒勤, The two rabbits 兔子, Liangyou 71 (1932). 2.9 Wang Yachen 汪亚尘, Flower 花, Meishu shenghuo 1 (Apr 1934): 14-15. 2.10 Lü Sibai 吕斯百, Meishu shenghuo 8 (Nov 1934): 8. 2.11 “Peonies by Y. C. Wang: The Young Companion’s Series of Contemporary Paintings by Chinese Artists. Section II Occidental: 3,” Liangyou 86 (1934): 18/19. 2.12 “Still Life by P. I. Chen: The Young Companion’s Series of Contemporary Paintings by Chinese Artists. Section II Occidental: 2,” Liangyou 85 (1934): 18/19. 2.13 “Flowers by F. M. Lin: The Young Companion’s Series of Contemporary Paintings by Chinese Artists. Section II Occidental: 4,” Liangyou 87 (1934): 18/19. 2.14 “Autumn—Season of the Arts,” Liangyou 71 (1932). 2.15 Role reversal? Pang Xunqin stands in the shadows behind Qiu Ti (on far right). Ni Yide and Zhou Duo stand in group on left. From Cheng and Tinari, Schudy. 2.16 Fourth Annual Juelanshe Exhibition published in Xinren zhoukan 2.10 (Nov. 2 1935). The painting in the center of the right page belongs to Liang Baibo. 3.1 Qiu Ti, Untitled, 1933 or before, oil on canvas, lost and presumed destroyed Shidai huabao 5.1 (Nov 1933). 3.2 Qiu Ti, Figure (Renti 人体). Dazhong huabao 13 (Nov 1934) 33. 3.3 Paul Cezanne, Large Bathers, 1905, oil on canvas, 132.4 x 219.1 cm, The Barnes Foundation, Merion, Pennsylvania, USA. 3.4 Henri Matisse, Joy of Life, 1906, oil on canvas, 175 x 241 cm, The Barnes Foundation, Merion, Pennsylvania, USA. 3.5 Henri Matisse, Dance (II), 1910, oil on canvas, 260 x 391 cm, The Hermitage, St. Petersburg, Russia. 3.6 Gauguin, Where Do We Come From? What Are We? Where Are We Going?, 1897, oil on canvas, 139.1 x 374.6 cm, Museum of Fine Arts, Boston, USA. vii 3.7 Marc Chagall, Red Nude, 1908, oil on canvas, 90 x 70 cm, private collection. 3.8 Marc Chagall, Nude over Vitebsk, 1933, oil on canvas, 87 x 133 cm. 3.9 Roger Bissiere, Three Adolescent Girls and a Dog to Guard Them, 1925, oil on canvas, Galerie Jeanne Bucher, Paris. 3.10 “Exhibition of Hiunkin Pang Paintings” and “Qiu zhi yanghua zhan” 秋之洋画展 [Autumn’s Western-style Painting Exhibits] Possibly from Zhonghua no.29 (1934). 3.11 “Shanghai zhi yanghua zhan 上海之洋画展 [Shanghai’s Western Painting] Shidai huabao 3.4 (Oct 10 1932). 3.12 Pang Xunqin, Nude (Luoti 裸体), Liangyou 72 (1932). 3.13 Pang Xunqin, Wicker Chair (Tengyi 藤椅), Shidai huabao 3.8 (Dec 16, 1932). 3.14 “Art Picture Exhibition” Liangyou 65 (1932): 46-47. 3.15 Guan Liang (关良), Nude (Luoti 裸女), “The Young Companion‘s Series of Contemporary Paintings by Chinese Artists Section II OCCIDENTAL: NO.9” Liangyou 95 (Oct 1934). 3.16 Fang Ganmin, White Doves (Baige 白鸽) Meishu shenghuo 2 (May 1934): 10-11. 3.17 Wang Jiyuan, Nude Woman. Yishu xunkan 12 (Jan 1933). 3.18 Yang Taiyang, Two Nude Women, Yishu xunkan 12 (Jan 1933). 3.19 Ni Yide, Female Nude (裸女), 1930s, oil painting. From Yang Qiuren. “Huiyi Ni Yide he Juelanshe.” Meishujia 31 (Apr 1983): 18-22. Original source not given. 3.20 Ni Yide at the Second Annual Juelanshe Exhibition, Shidai huabao 5.1 (Nov 1933). 3.21 Coverage of the Third Annual Juelanshe Exhibition. “In the Painting Exhibition of the Storm Society,” Dazhong huabao no. 12 (Oct. 1934): 22-23. 3.22 Pan Yuliang, Song of Spring, 1930, oil on canvas. From Anhui sheng bowuguan , ed. Pan Yuliang meishu zuopin xuan (Jiangsu: Jiangsu meishu chuban she, 1998): 59. 3.23 Edouard Manet, Luncheon in the Grass, 1863, oil on canvas, 208 x 265.5 cm, Musée d'Orsay, Paris, France.
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