Standing on the Frontline of Life: Art and Archives of Hu Yichuan

  • Dates:2020-11-18 - 2020-12-23
  • Location:CAFAM Gallery 2B
  • Opening:
  • Organizer(s): CAFA Art Museum Guangzhou Academy of Fine Arts
  • Co-organizer: CAFA Art Museum Art Museum of Guangzhou Academy of Fine Arts
  • Supporter: National Museum of China China Artists Association National Art Museum of China

Details

The exhibition "Standing on the Frontline of Life: Art and Archives of Hu Yichuan" is co-organized by Central Academy of Fine Arts and Guangzhou Academy of Fine Arts, and undertaken jointly by the CAFA Art Museum and the Art Museum of Guangzhou Academy of Fine Arts. It is part of the "Hundred Years of Glory · CAFA Masters" exhibition program, and one of the Guangzhou Academy of Fine Arts' commemoration programs of Hu Yichuan's 110th birthday.Hu Yichuan is an important artist and art educator of the 20th century in China. His works, Going to the Frontline, Breaking Shackles, The Eve, have become an icon of the 20th century Chinese fine art. The exhibition focuses on the excellent life and art of Hu Yichuan. Divided into five parts, it tries to elaborate on Hu's life from his oral history, artworks, archives of his art education and his life choices, showcasing his life pursuit of "running towards the frontline of time as a flag-bearer". The exhibition will showcase around 500 pieces of artworks and documents that represent Hu's life. Many archives are shown for the first time.The exhibition is the first retrospective exhibition of Hu Yichuan at the Central Academy of Fine Arts. It received great support from Hu Yichuan's family, the National Museum of China, the National Art Museum of China and China Artists Association.

The exhibition "Standing on the Frontline of Life: Art and Archives of Hu Yichuan" is co-organized by Central Academy of Fine Arts and Guangzhou Academy of Fine Arts, and undertaken jointly by the CAFA Art Museum and the Art Museum of Guangzhou Academy of Fine Arts. It is part of the "Hundred Years of Glory · CAFA Masters" exhibition program, and one of the Guangzhou Academy of Fine Arts' commemoration programs of Hu Yichuan's 110th birthday.

Hu Yichuan is an important artist and art educator of the 20th century in China. His works, Going to the Frontline, Breaking Shackles, The Eve, have become an icon of the 20th century Chinese fine art. The exhibition focuses on the excellent life and art of Hu Yichuan. Divided into five parts, it tries to elaborate on Hu's life from his oral history, artworks, archives of his art education and his life choices, showcasing his life pursuit of "running towards the frontline of time as a flag-bearer". The exhibition will showcase around 500 pieces of artworks and documents that represent Hu's life. Many archives are shown for the first time.

The exhibition is the first retrospective exhibition of Hu Yichuan at the Central Academy of Fine Arts. It received great support from Hu Yichuan's family, the National Museum of China, the National Art Museum of China and China Artists Association.

Artworks

Artworks

Photographs

Photographs

Related essays

Hundred Years of Glory · CAFA Masters | Standing on the Frontline of Life: Art and Archives of Hu Yichuan

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The exhibition "Standing on the Frontline of Life: Art and Archives of Hu Yichuan" is co-organized by Central Academy of Fine Arts and Guangzhou Academy of Fine Arts, and undertaken jointly by the CAFA Art Museum and the Art Museum of Guangzhou Academy of Fine Arts. It is part of the "Hundred Years of Glory · CAFA Masters" exhibition program, and one of the Guangzhou Academy of Fine Arts' commemoration programs of Hu Yichuan's 110th birthday.
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站在人生的前线——胡一川艺术与文献展- 2020.11.18—12.23-由中央美术学院、广州美术学院主办的“站在人生的前线——胡一川艺术与文献展”正在中央美术学院美术馆展出。展览以聚焦胡一川不平凡的人生历程和艺术历程为内容,展示了胡一川各时期重要油画、版画具有代表性的作品和珍贵文献约500余件,共分为五个板块,从口述史、美术作品、美育文献、人生抉择等方面进行切入,多角度展现胡一川“勇敢地跑到时代的前头当旗手”的人生追求。我们将循着展呈顺序,按版块,以图文的方式,进一步梳理胡一川与展品,展品与时代之间的关系。“我最爱大海了,一如我终生爱画画那样痴迷……”——胡一川晚年受访时口述[1]胡一川一生偏爱“海”,也在不停地奔向“海”。1922年,因为家中变故,12岁的胡一川带着弟弟胡以多随水客下南洋,到印尼投奔父亲。这段远漂的经历,是他第一次真正意义上见识到了“海”的辽阔与一望无际,同时,也让他通过“海”开始对世界有了认识。这时,对于胡一川来说,“海”是远方和一切的未知。20世纪初的南洋水客港口初次面对这般云飞浪涌的海洋,胡一川心中对“海”的激情和好奇的冲动油然而生,逐渐随岁月与经历,成为一生的向往。“一提到海,我就会感到有无限的兴奋。”——胡一川日记1957年8月26日“不论任何时侯,我一看见广阔的海洋,汹涌的波涛,心胸总感到无限的舒畅。”——胡一川日记1982年3月10日于船上“一看到海和浪花,心里就感到无限宽广和美好的联想,这可能是我偏爱海的缘故。”——胡一川日记1986年2月6日这种对“海”抑制不住的兴奋心情的描述,不知在胡一川的日记中出现过多少次……无论到哪,无论周围环境如何,胡一川总会想方设法去看那儿的“海”。“一到目的地,就应该设法去参观一下海边的环境”——胡一川日记1957年8月26日1960年,胡一川赴苏联访问交流,并进行了多次的现场写生,对“海”情有独钟的胡一川,如愿以偿地画了很多“海”。胡一川《浪》 1960年 作于苏联 纸板油画 35cm×46cm 胡一川研究所藏《浪》局部胡一川《巴库海岸》 1960年 作于苏联 纸板油画 35cm×50cm 胡一川研究所藏《巴库海岸》局部胡一川《海边小船》 1960年 作于苏联 纸板油画 35cm×46cm 胡一川研究所藏《海边小船》局部胡一川笔下的“海“如同他在日记里说到的:“海浪昼夜不停地冲击着海边的岩石和沙滩。”,看不到平静,看不到温和,但有“他的诗意,他的抒情”。“我喜欢激浪滔滔,我也喜欢静夜的幽静。”——胡一川日记1938年5月21日“我喜欢那奔腾汹涌的浪涛,我喜欢那排山倒海一般的气魄,我更喜欢他那不怕一切障碍努力向前奔流的前奏曲!”——胡一川日记1942年7月18日“我喜欢白浪滔滔的海洋,我不喜欢风平浪静的死水。”——胡一川日记1965年12月13日从苏联归来后,胡一川马上投身到社会主义的建设当中。1960年的“湛江堵海“工程作为新中国成立之始即面临海防与沿海经济大建设的一项重要举措,广州美术学院的各系专业教师带领同学们干劲十足地奔赴湛江参加”工程“,用画笔记录和描绘这一壮举。1960年,学校领导带头下乡下厂、深入生活,在湛江堵海工程指挥部合影 1960年 广州美术学院院领导同事合影于湛江,堵海工程写生《湛江堵海》的创作想法就在这样的时代背景下萌发。当时,胡一川与关山月、黎雄才等一行美术家前往湛江堵海工地进行写生,收集创作素材,记录下祖国建设的风貌。胡一川1960年的日记本中关于《湛江堵海》的创作手稿与写生胡一川《水利建设之一》1960年 作于湛江 纸本,19.4cm×26.9cm 胡一川研究所藏但由于胡一川学校行政组织工作太多,创作时间不足以使其及时完成这一时代创作,直到1989年才最终画出这幅《湛江堵海》。“创作时间太少,太零碎,精神不集中,我有好些创作计划如一九五四年想创作“见矿”,一九五六年想创作“劈山”,一九五九年想创作“堵海”,一九六二年想创作“下网”和多年想搞一幅“火种”,是描写监狱对敌斗争,都因为没有时间关系无法完成。”——1964年9月胡一川致周扬信件1960年《湛江堵海》速写,后成为油画的素描稿胡一川《湛江堵海》 1989年 作于广州 布面油画 55cm×79cm 胡一川研究所藏《湛江堵海》局部《湛江堵海》展览现场胡一川常常因工作和杂务的困扰而无法专心画画,虽然时间紧任务重,但还是在外出的时候挤出时间尽可能多地写生、创作。毕竟,不管奔波到哪里,“海”一直是胡一川的“心之所向”。胡一川《南澳岛》 1962年 作于广东 布纹纸油画 35.5cm×50.5cm 胡一川研究所 《南澳岛》局部 胡一川《妈屿口》 1974年 作于广东 纸板油画 36.5cm×50cm 胡一川研究所胡一川《东海岸》 1982年 作于浙江普陀山 布纹纸油画 53.5cm×76cm 胡一川研究所《东海岸》局部“海“对于胡一川来说亦是答案。画似人,人似画,胡一川就像他画的“海“一样,百折不挠,一往无前。胡一川具有海川一般的胸怀,阅历已如大海一样深沉和壮美……或许这就是“海“给予胡一川的指引,终有一天他能奔向”海洋“。“我不喜欢老是住在一个地方,我喜欢跋涉千万重山,渡过广阔到海洋,我希望我的生活像海洋一样永远的动荡,像狂飚一样自由地在宇宙间来回扫荡。”——胡一川日记1942年2月9日“我愿我的生活象海浪般的动荡,而不愿象湖水一样镜平,我喜欢在这伟大的时代里做一个旗手,我不愿做一个庸俗的时代的尾巴,我知道当太阳还不能普遍地照遍天下时还会有许多灾难威胁着我。”——1942年2月25日胡一川致黄君珊信件“一个人的生活老是象湖水一样的平也是单调和容易满足现状。有事业雄心斗志的人是应该经常生活在火热斗争中,心情应像海洋的浪涛一般,一浪逐一浪高。心胸永远是宽阔的,永远是激动的,只有这样的不平凡的生活才能留下一些可纪念的痕迹。”——1964年6月26日胡一川致黄君珊信件“我很早以前就神经质地下过决心,我要尝尽一切人间的艰苦,我要过着像海洋一般广阔奔涛汹涌的激荡生活,我要在那人间的重重疾苦中找到兴趣,但我也要意味着人间最骄傲的而难得的欢乐,而不愿过着湖水一般平静而安稳的生活,住在冷静的古庙里平静的消逝我的年华。而我的行动也渐渐的实证着我的顽强的理想。”——胡一川日记1944年11月29日“对辽阔的天空和深远的海洋感兴趣的人,他的心胸必然是较宽阔的,因自然界的美会在人的思想感情上起作用。多看海洋会使你感到心胸更加宽广,多看高山会使你感到心灵更加雄伟。”——胡一川日记1985年10月17日 胡一川《北戴河海边》1981年 作于北戴河 布纹纸油画 19.5cm×30cm 胡一川研究所藏胡一川《日出》1981年 作于北戴河 布面油画 50cm×75,5cm 胡一川研究所藏“海“对于胡一川来说更是心的方向。为了追求黄君珊,胡一川每天早早地到海边码头上等着心爱的“3”从鼓浪屿坐船过来。面对着“海”,是浪漫,是期待,是未来。“海”也从此成为胡一川与黄君珊两人心交织的见证。“早上在海边会见了3,我还陪她到学校去。”——胡一川日记1937年3月15日“3今天开始上课,一星期的寒假无声无息的就过去了。因为昨日我做日工,晚上可以睡到天亮,早上我还到海边去等3 和她跑到学校门口我才回来画画,从今天起我也应该用功才成了。”——胡一川日记1937年4月8日“我已经把《饥饿线上》的连环画稿画到二十多张了。下午3 的母亲叫人打电话给我,要我到她家里去吃包饼,晚饭后3 还陪我到海边和幽道上去散步,神秘的街路灯把我们俩的黑影拖得长长的,令我们分不出哪一个是你我。”——胡一川日记1937年4月11日1961年,胡一川与黄君珊回到福建厦门海边,在曾经约会的海边石门前合影胡一川《海边石门》 1961年 作于福建 纸板油画 35.5cm×49cm 胡一川研究所藏胡一川与黄君珊之间深切的情感,一直是胡一川在艺术创作上的鞭策和动力,不论她在与不在。“在君珊去世前我曾对她说我要搞好身体和业务,这几个月来我是执行了我的诺言,已画出三十二幅作品,……如果君珊还在的话她一定会很高兴,我也会得到更大的安慰。”——胡一川日记1982年9月2日1982年黄君珊去世,她已不在,可“海”还在……只要看到“海”,胡一川便有了方向。这份情感从始至终一直在牵系和支撑着胡一川,是“海”让这种无形的力量都变成了“有形”。展览结尾部分展览结尾部分视频人生的最后,胡一川与黄君珊再次在“海”中相遇,千山万水、终久团圆。“千山万水 终久团园”一川君珊结婚纪念,1944年王曼硕赠给胡一川黄君珊结婚礼物砖刻策展人曹庆晖老师为 “爱与生死的咏叹——胡一川的苦难与幸福”所选章节文字“你应该深刻地细嚼人生的痛苦,你应该深刻地去玩味人生的快乐。没有痛苦,不会感到幸福的可佳,没有幸福,也不会感觉到痛苦的难过,痛苦与幸福是始终不离的结发夫妻。”——胡一川日记 1937年1月12日 文献整理及文字、图片提供:广州美术学院胡一川研究所、卢彦伶注释[1] 刘玲玉:海川之韵——《胡一川传》传记节选,广州日报,1994-11-26(14)参考文献[1] 胡一川艺术研究文集,《胡一川作品集》、《胡一川文献集》编辑委员会编,长沙:湖南美术出版社,2003[2] 胡一川日记,1950年-1992年部分,未出版[3] 胡一川书信,1933年-1986年部分,未出版[4] 胡一川著:《红色艺术现场:胡一川日记(1937-1949)》,长沙:湖南美术出版社,2010年
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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.

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.

Group Visit Agreement
and Statement

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

Name:
Gender
Phone:
Valid Certificate: Identity Card
ID Number:
Email:

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!