Lin Gang :Painting / Living

  • Dates:2019-03-12 - 2019-05-04
  • Location:Gallery 2A,CAFA Art Museum
  • Opening:2019-03-12 13:30
  • Organizer(s): Central Academy of Fine Arts
  • Organizer: CAFA Art Museum
  • Chief Curator: Fan Di’an
  • Aacademic Supervisor: Shao Dazhen
  • Art Director: Zhang Zikang
  • Curator: Wu Hongliang

Details

CAFA Art Museum is honored to announce the academic exhibition of oil painting artist, CAFA professor Lin Gang. Born in 1925, Lin is one of the most prestigious contemporary oil painting artists in China. He studied at the Repin Institute in Leningrad in the 1950s, and after his return he became... More
CAFA Art Museum is honored to announce the academic exhibition of oil painting artist, CAFA professor Lin Gang.

Born in 1925, Lin is one of the most prestigious contemporary oil painting artists in China. He studied at the Repin Institute in Leningrad in the 1950s, and after his return he became a professor in the CAFA Oil Painting department.

Lin was initially known for his 1951 painting Zhao Guilan at the Conference of Outstanding Workers, a realistic depiction of the meeting between CCP leadership, including Mao Zedong, Zhou Enlai, Liu Shaoqi and Zhu De, and Chinese model workers. After returning from the Soviet Union, Lin focused on realistic themes of revolutionary history, creating a series of works (Crossing East, Eventful Years, etc.) that juxtapose both grand historical topics and the artist’s compassionate feelings. From 1980s onwards, Lin continued to explore new forms of expression. He is one of the earliest predecessors of abstract paintings in China.

The exhibition, “Lin Gang: Painting/Living”, is produced by CAFA president Fan Di’an, with Shao Dazhen being the academic supervisor, Zhang Zikang being the art director and Wu Hongliang being the curator. The exhibition includes over 60 pieces of Lin’s paintings, offering a retrospective review of his art life that spans the past 70 years.

Preface

Diligent and insightful art explorer: Lin Gang


By Shao Dazhen


Lin Gang and I have known each other for sixty years. We both studied at the Repin Institute. I was a 21-year-old Literature Department freshman when I was sent to the Repin Institute to study art history in 1955. Lin Gang went to Repin one year earlier than me. At the age of 28, he was already a lecturer at the Central Academy of Fine Arts, and received nationwide fame for his work Zhao Guilan at the Conference of Outstanding Workers, which won the first prize of National New Year Painting Award. He enrolled in the CAFA with the Huabei United University’s Fine Arts Department, when it was merged into the CAFA in 1949. In us junior fellow students’ minds, he was fairly experienced in revolutions. He influenced me intangibly with his restless learning attitude, enquiring spirit into art theories, honest courtesies towards people, and his indifference to fame and wealth. Not only was he diligent in study and art making, he also had deep thinking of art, holding a skeptical attitude towards the formulating and conceptualizing tendency of the then Soviet and Chinese art. Lin Gang’s sincerity towards nature and art, along with his persistence in oil painting language, is reflected both in his school assignments, graduation work and his sketching of the nature. He sees sketching as an important measure to draw inspirations from the objective world and to express feelings, as well as a more direct, independent and casual creative form. The sketches he created during and after his Soviet days show his focus on expression of his own feelings - a contrast to classical oil paintings that value ‘molding’ techniques - he pursues unconfined use of strokes and colors, and the beauty of tonality and spirit of the picture. His works fully convey his high-leveled artistic skills and rich modern art deposits.


After returning to China in 1959, Lin Gang was engaged in teaching and creation of revolutionary history paintings. There are two outstanding characters of these works he created in the 1960s: the revelation of the true face of history, profound depiction of people’s rich and complex spiritual world; and the manifestation of the beauty of modeling composition and tonality, which are characteristic of oil painting language. He holds a coherent opinion towards oil painting’s development: Artists should study thoroughly the concept and experience of classical European and modern oil paintings; grasp the characteristics of the oil painting language, especially the color and tonality; not be afraid of difficulties; and not chase after superficial ‘national features’ without mastering oil painting skills.


For the past 30 years, Lin Gang and his wife Pang Tao ignored people’s misunderstandings and gossips, encouraged each other in the exploration of abstract art. They relentlessly drew inspirations from their own life and art experience, traditional national arts, and international arts especially the modern ones, to enrich their language and styles. Their works experienced constant changes, through which modernity, individuality and picturesqueness gradually reveal themselves. They also generously shared their research results with the academy, devoting greatly to the foundation and development of the Fourth Studio in the Oil Painting Department at the Central Academy of Fine Arts. I believe it’s a good thing to have two serious explorers and initiators of abstract art, instead of two practitioners of realistic painters, in this vast country, in that their diligence, spiritually rich contemporary art creation and art thinking are beneficial to our knowledge of the boundlessness of the art world, the due rich and diverse language of art expressions, so that we could avoid the simplification of art language and expression techniques. After all, standardization and simplification are the biggest obstacle to the progress of art!


Diligent and insightful art explorer: Lin Gang


By Shao Dazhen


Lin Gang and I have known each other for sixty years. We both studied at the Repin Institute. I was a 21-year-old Literature Department freshman when I was sent to the Repin Institute to study art history in 1955. Lin Gang went to Repin one year earlier than me. At the age of 28, he was already a lecturer at the Central Academy of Fine Arts, and received nationwide fame for his work Zhao Guilan at the Conference of Outstanding Workers, which won the first prize of National New Year Painting Award. He enrolled in the CAFA with the Huabei United University’s Fine Arts Department, when it was merged into the CAFA in 1949. In us junior fellow students’ minds, he was fairly experienced in revolutions. He influenced me intangibly with his restless learning attitude, enquiring spirit into art theories, honest courtesies towards people, and his indifference to fame and wealth. Not only was he diligent in study and art making, he also had deep thinking of art, holding a skeptical attitude towards the formulating and conceptualizing tendency of the then Soviet and Chinese art. Lin Gang’s sincerity towards nature and art, along with his persistence in oil painting language, is reflected both in his school assignments, graduation work and his sketching of the nature. He sees sketching as an important measure to draw inspirations from the objective world and to express feelings, as well as a more direct, independent and casual creative form. The sketches he created during and after his Soviet days show his focus on expression of his own feelings - a contrast to classical oil paintings that value ‘molding’ techniques - he pursues unconfined use of strokes and colors, and the beauty of tonality and spirit of the picture. His works fully convey his high-leveled artistic skills and rich modern art deposits.


After returning to China in 1959, Lin Gang was engaged in teaching and creation of revolutionary history paintings. There are two outstanding characters of these works he created in the 1960s: the revelation of the true face of history, profound depiction of people’s rich and complex spiritual world; and the manifestation of the beauty of modeling composition and tonality, which are characteristic of oil painting language. He holds a coherent opinion towards oil painting’s development: Artists should study thoroughly the concept and experience of classical European and modern oil paintings; grasp the characteristics of the oil painting language, especially the color and tonality; not be afraid of difficulties; and not chase after superficial ‘national features’ without mastering oil painting skills.


For the past 30 years, Lin Gang and his wife Pang Tao ignored people’s misunderstandings and gossips, encouraged each other in the exploration of abstract art. They relentlessly drew inspirations from their own life and art experience, traditional national arts, and international arts especially the modern ones, to enrich their language and styles. Their works experienced constant changes, through which modernity, individuality and picturesqueness gradually reveal themselves. They also generously shared their research results with the academy, devoting greatly to the foundation and development of the Fourth Studio in the Oil Painting Department at the Central Academy of Fine Arts. I believe it’s a good thing to have two serious explorers and initiators of abstract art, instead of two practitioners of realistic painters, in this vast country, in that their diligence, spiritually rich contemporary art creation and art thinking are beneficial to our knowledge of the boundlessness of the art world, the due rich and diverse language of art expressions, so that we could avoid the simplification of art language and expression techniques. After all, standardization and simplification are the biggest obstacle to the progress of art!


Artworks

Photographs

Related essays

林岗历史画创作的11件代表作 ...

2019-03-11

《群英会上的赵桂兰》(作者放大原作)水质颜色,绢138 x 176cm1951中央美术学院美术馆藏(首幅原作:水质颜色,纸。香港汉雅轩藏)林岗    描绘了1950年9月25日毛泽东在“全国工农兵劳动模范代表会议”期间上亲切接见劳动模范赵桂兰的情景,这件作品被认为是延安时代以来新年画发展的一件具有代表性的作品。创造性地将油画语言渗透其中,尤其在构图和人物塑造上呈现出与传统年画完全不同的面貌。1951年这件作品被《人民日报》刊载后,印成年画在全国发行上百万份。 《狱中》油画160x282cm1961中国国家博物馆藏林岗《狱中》是林岗留学回国后创作的第一张历史画,画面的中心人物以革命者王若飞为原型,表现了革命者狱中斗争的情形。在作品中,林岗采用了欧洲古典油画的透明画法,在层层的罩染中完成对室内空间和凝重画面氛围的营造,成为当时革命现实主义创作的佳作。此画为新中国首次试用此技法的作品。 《考察农民运动》油画150 x 275cm1964湖南韶山美术馆藏?林岗当时在共产国际的领导下,要求中国共产党像苏联一样,红军攻打城市、占领城市直捣冬宫取得革命胜利。当时中国共产党内对革命方式及革命路线争论激烈,毛泽东在湖南农村开展了打土豪、分田地土改运动,农民情绪极为高涨,纷纷参军。中国是个农业国,毛泽东熟悉农民,走农村包围城市的革命道路更符合中国的国情。《井冈山会师》油画200 x 380cm1975中国国家博物馆藏林岗1927年9月毛泽东率领湖南等地革命军举行秋收起义,上了井冈山,建立革命根据地,随后朱德率军前往井冈山与毛泽东会合,以壮大革命队伍。到达当天,毛泽东正好下山有任务,等到毛泽东返回时,朱德大军已经安顿好了。但从大的历史发展看,是朱德投奔井冈山根据地与毛会合。《周总理是咱贴心人》油画154.5 x 220cm1976私人收藏林岗,厐壔,苏高礼   1976年10月,当得知揪出“四人帮”后,我们立即自发为纪念周总理去逝周年。庞壔与苏高礼完成《贴心人》,合作中庞壔画总理右侧的群众及左侧的老大娘,苏画左侧其他群众及背景,铺完大色调后,感到比较暗,林岗先把粉红衣服提亮,随着将窑洞墙面及地面提亮,定了大色调,然后画周总理及陈永贵形象,庞涛希望除总理之外,都画普通群众,未采纳。苏、庞接着完成,庞又将左侧人物形象作了修整,使整幅画相对统一,全部背景环境皆由苏高礼一人完成。 《万里征程诗不尽》(又称《马背诗篇》)油画180x298cm1977中国国家博物馆藏林岗,厐壔  《万里征程诗不尽》是林岗和厐壔为纪念毛泽东主席逝世周年的创作,画面构图由厐壔完成。当时革命历史博物馆到中央美术学院组织毛主席去逝周年画展,林岗首选了做诗的画题。在革博放大完成,古元先生看后问:这画的题目是什么?答:还没想好,马背吟诗?,古元先生停顿片刻说:“万里征程诗不尽”,从此定名。《峥嵘岁月》(又称《长征路上》)油画165x300cm1979中国国家博物馆藏林岗,厐壔 表现的是朱德三次过草地的情景,这是长征过草地最悲壮的一幕,此次过草地前既无牲口,亦无青稞干粮,其艰辛历程难以想像。除了在长征路上采访体验之外,画此幅历史画前,特意观看了人民艺术剧院演出的《万水千山》,演员阵容强大,但是看了之后感到过于夸张、简单化,表演太过份,我们力求避免这些弊病,当时画面有牺牲的战士、有遗骨,但通不过,只能盖上灰布还献上一束野花。皆属浪漫的构想,真实是更加的惨烈悲壮。《十里长街》(又称《万众心相随》)油画150x310cm1976中国国家博物馆藏林岗,葛鹏仁 创作于周恩来总理去世举国哀痛的氛围,既具有纪实性,但更是画家情感的抒发。画面中的每一个元素都是由感而发,而非戏剧性的刻意安排,浓郁的灰冷色调和宽幅画面中几组相拥而泣的人物强化了悲哀的氛围,延至远方的送别队伍则提示了人们对一代伟人的绵长怀念。透过这件作品,人们得以体味与画家本人感受相关的一种“在场的历史”书写,从而更深刻地理解作品的内涵。《东渡》油画135 x 200cm1976 - 1977私人收藏周总理青年时代赴日留学,曾作诗:“大江歌罢掉头东,邃密群科济世穷,面壁十年图破壁,难酬蹈海亦英雄。”在此诗启发下,构思《东渡》。《画家王式廓》油画82x78cm1978赠王式廓家属 画家王式廓是林岗的老师和好友,他所提倡的艺术创作要深入生活的理念深刻地影响了林岗的艺术。他们曾被委派共同创作《转战陕北》,但在采集资料的写生过程中王式廓却倒在了画架旁,为艺术和人民献出了生命。为了纪念王式廓,林岗创作了这幅肖像画。《女兵》(又称《路》)油画140 x 130cm1986北京美术家协会藏林岗1978年在草地走访过长征时因病未走出草地的红军女战士,她的一席回忆令人难忘,女兵这幅画是作者有感而发的。“女兵”表现的是生病的女战士在茫茫草地,被战友用力拖着往前走…。 More
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Article I

This event was organized on the principles of fairness, impartiality, and voluntary participation and withdrawal. Participants undertake all risk and liability for themselves. All events have risks, and participants must be aware of the risks related to their chosen event.

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Event participants must abide by the laws and regulations of the People’s Republic of China, as well as moral and ethical norms. All participants must demonstrate good character, respect for others, friendship, and a willingness to help others.

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Event participants should be adults (people 18 years or older with full civil legal capacity). Underage persons must be accompanied by an adult.

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Event participants undertake all liability for their personal safety during the event, and event participants are encouraged to purchase personal safety insurance. Should an accident occur during an event, persons not involved in the accident and the museum do not undertake any liability for the accident, but both have the obligation to provide assistance. Event participants should actively organize and implement rescue efforts, but do not undertake any legal or economic liability for the accident itself. The museum does not undertake civil or joint liability for the personal safety of event participants.

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During the event, event participants should respect the order of the museum event and ensure the safety of the museum site, the artworks in displays, exhibitions, and collections, and the derived products. If an event causes any degree of loss or damage to the museum site, space, artworks, or derived products due to an individual, persons not involved in the accident and the museum do not undertake any liability for losses. The event participant must negotiate and provide compensation according to the relevant legal statutes and museum rules. The museum may sue for legal and financial liability.

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Event participants will participate in the event under the guidance of museum staff and event leaders or instructors and must correctly use the painting tools, materials, equipment, and/or facilities provided for the event. If a participant causes injury or harm to him/herself or others while using the painting tools, materials, equipment, and/or facilities, or causes the damage or destruction of the tools, materials, equipment, and/or facilities, the event participant must undertake all related liability and provide compensation for the financial losses. Persons not involved in the accident and the museum do not undertake any liability for personal accidents.

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According to The Advertising Law of the People’s Republic of China, The General Principles of the Civil Law of the People’s Republic of China, and The Provisional Opinions of the Supreme People’s Court on Some Issues Related to the Full Implementation of the General Principles of the Civil Law of the People’s Republic of China, and upon friendly negotiation, Party A and Party B have arrived at the following agreement regarding the use of works bearing Party A’s image in order to clarify the rights and obligations of the portrait licenser (Party A) and the user (Party B):

I. General Provisions

(1) Party A is the portraiture rights holder in this agreement. Party A voluntarily licenses its portraiture rights to Party B for the purposes stipulated in this agreement and permitted by law.

(2) Party B (CAFA Art Museum) is a specialized, international modern art museum. CAFA Art Museum keeps pace with the times, and works to create an open, free, and academic space and atmosphere for positive interaction with groups, corporations, institutions, artists, and visitors. With CAFA’s academic research as a foundation, the museum plans multi-disciplinary exhibitions, conferences, and public education events with participants from around the world, providing a platform for exchange, learning, and exhibition for CAFA’s students and instructors, artists from around the world, and the general public. As a public institution, the primary purposes of CAFA Art Museum’s public education events are academic and beneficial to society.

(3) Party B will photograph all CAFA Public Education Department events for Party A.

II. Content, Forms of Use, and Geographical Scope of Use

(1) Content. The content of images taken by Party B bearing Party A’s likeness include: ① CAFA Art Museum ② CAFA campus ③ All events planned or executed by the CAFAM Public Education Department.

(2) Forms of Use. For use in CAFA’s publications, products with CDs, and promotional materials.

(3) Geographical Scope of Use

The applicable geographic scope is global.

The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

The fees for images bearing Party A’s likeness will be undertaken by Party B.

After completion, Party B does not need to pay any fees to Party A for images bearing Party A’s likeness.

Additional Terms

(1) All matters not discussed in this agreement shall be resolved through friendly negotiation between both parties. Both parties may then sign a supplementary agreement, provided it does not violate any laws or regulations.

(2) This agreement comes into effect on the date that it is signed (sealed) and the relevant boxes are selected by Party A and Party B.

(3) This agreement exists in paper and electronic forms. The paper form is made in duplicate, with Party A and Party B each retaining one copy with the same legal efficacy.

Event participants implicitly accept and undertake all the obligations stated in this agreement. Those who do not consent will be seen as abandoning the right to participate in this event. Before participating in this event, please speak to your family members to obtain their consent and inform them of this disclaimer. After participants sign/check the required box, participants and their families will be seen as having read and agreed to these terms.

I have carefully read and agree to the above provisions.

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CAFA Art Museum Publication Authorization Agreement

I fully agree to CAFA Art Museum (CAFAM) submitting to CAFA for publication the images, pictures, texts, writings, and event products (such as works created during participation in workshops) related to me from my participation in public events (including museum member events) organized by the CAFA Art Museum Public Education Department. CAFA can publish these materials by electronic, web, or other digital means, and I hereby agree to be included in the China Knowledge Resource Bank, the CAFA Database, the CAFA Art Museum Database, and related data, documentation, and filing institutions and platforms. Regarding their use in CAFA and dissemination on the internet, I agree to make use of these rights according to the stated Rules.

CAFA Art Museum Event Safety Disclaimer

Article I

This event was organized on the principles of fairness, impartiality, and voluntary participation and withdrawal. Participants undertake all risk and liability for themselves. All events have risks, and participants must be aware of the risks related to their chosen event.

Article II

Event participants must abide by the laws and regulations of the People’s Republic of China, as well as moral and ethical norms. All participants must demonstrate good character, respect for others, friendship, and a willingness to help others.

Article III

Event participants should be adults (people 18 years or older with full civil legal capacity). Underage persons must be accompanied by an adult.

Article IV

Event participants undertake all liability for their personal safety during the event, and event participants are encouraged to purchase personal safety insurance. Should an accident occur during an event, persons not involved in the accident and the museum do not undertake any liability for the accident, but both have the obligation to provide assistance. Event participants should actively organize and implement rescue efforts, but do not undertake any legal or economic liability for the accident itself. The museum does not undertake civil or joint liability for the personal safety of event participants.

Article V

During the event, event participants should respect the order of the museum event and ensure the safety of the museum site, the artworks in displays, exhibitions, and collections, and the derived products. If an event causes any degree of loss or damage to the museum site, space, artworks, or derived products due to an individual, persons not involved in the accident and the museum do not undertake any liability for losses. The event participant must negotiate and provide compensation according to the relevant legal statutes and museum rules. The museum may sue for legal and financial liability.

Article VI

Event participants will participate in the event under the guidance of museum staff and event leaders or instructors and must correctly use the painting tools, materials, equipment, and/or facilities provided for the event. If a participant causes injury or harm to him/herself or others while using the painting tools, materials, equipment, and/or facilities, or causes the damage or destruction of the tools, materials, equipment, and/or facilities, the event participant must undertake all related liability and provide compensation for the financial losses. Persons not involved in the accident and the museum do not undertake any liability for personal accidents.

CAFA Art Museum Portraiture Rights Licensing Agreement

According to The Advertising Law of the People’s Republic of China, The General Principles of the Civil Law of the People’s Republic of China, and The Provisional Opinions of the Supreme People’s Court on Some Issues Related to the Full Implementation of the General Principles of the Civil Law of the People’s Republic of China, and upon friendly negotiation, Party A and Party B have arrived at the following agreement regarding the use of works bearing Party A’s image in order to clarify the rights and obligations of the portrait licenser (Party A) and the user (Party B):

I. General Provisions

(1) Party A is the portraiture rights holder in this agreement. Party A voluntarily licenses its portraiture rights to Party B for the purposes stipulated in this agreement and permitted by law.

(2) Party B (CAFA Art Museum) is a specialized, international modern art museum. CAFA Art Museum keeps pace with the times, and works to create an open, free, and academic space and atmosphere for positive interaction with groups, corporations, institutions, artists, and visitors. With CAFA’s academic research as a foundation, the museum plans multi-disciplinary exhibitions, conferences, and public education events with participants from around the world, providing a platform for exchange, learning, and exhibition for CAFA’s students and instructors, artists from around the world, and the general public. As a public institution, the primary purposes of CAFA Art Museum’s public education events are academic and beneficial to society.

(3) Party B will photograph all CAFA Public Education Department events for Party A.

II. Content, Forms of Use, and Geographical Scope of Use

(1) Content. The content of images taken by Party B bearing Party A’s likeness include: ① CAFA Art Museum ② CAFA campus ③ All events planned or executed by the CAFAM Public Education Department.

(2) Forms of Use. For use in CAFA’s publications, products with CDs, and promotional materials.

(3) Geographical Scope of Use

The applicable geographic scope is global.

The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

The fees for images bearing Party A’s likeness will be undertaken by Party B.

After completion, Party B does not need to pay any fees to Party A for images bearing Party A’s likeness.

Additional Terms

(1) All matters not discussed in this agreement shall be resolved through friendly negotiation between both parties. Both parties may then sign a supplementary agreement, provided it does not violate any laws or regulations.

(2) This agreement comes into effect on the date that it is signed (sealed) and the relevant boxes are selected by Party A and Party B.

(3) This agreement exists in paper and electronic forms. The paper form is made in duplicate, with Party A and Party B each retaining one copy with the same legal efficacy.

Event participants implicitly accept and undertake all the obligations stated in this agreement. Those who do not consent will be seen as abandoning the right to participate in this event. Before participating in this event, please speak to your family members to obtain their consent and inform them of this disclaimer. After participants sign/check the required box, participants and their families will be seen as having read and agreed to these terms.

I have carefully read and agree to the above provisions.

Event Booking Form

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Reminder:

Hello! Thank you for participating in our public education event and we are looking forward to seeing you! If you cannot attend the event on time, please send a text message to 13261936837 (Liang) to cancel the booking. Please be aware that your eligibility for using the quick booking may be affected If you cancel the booking more than three times. Thank you for your understanding!