Profound Art——An Exhibition in Celebration of Lin Gang’s 100th Birthday CAFA Art Museum

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: CAFAM展览预告 | “大艺不言——林岗先生百岁艺术展” 即将开幕

2024-09-10

百年辉煌·中央美术学院艺术名家大艺不言——林岗先生百岁艺术展主办：中央美术学院承办：中央美术学院党委宣传部中央美术学院美术馆中央美术学院油画系支持：中国国家博物馆北京美术家协会展览时间：2024年9月11日–10月13日展览地点：中央美术学院美术馆3层B展厅开幕时间：2024年9月11日下午3：00 开幕地点：中央美术学院美术馆3层B展厅▲▲▲“创作过程的苦与乐，也是一种精神享受；我喜欢这种感觉，随心所欲！”——林岗林岗先生是中国当代油画家，中央美术学院油画系教授，1999年获俄罗斯文化部授予的普希金勋章，并被聘为俄罗斯圣彼得堡列宾美术学院名誉教授，2014年获中国文学艺术联合会颁发的第十一届“造型表演艺术成就奖”，2018年获首批“中央美术学院杰出教授”称号。2024年是林岗先生的期颐之年，本项目是中央美术学院“百年辉煌·艺术名家”系列展览之一，也是学校弘扬立德树人精神，传承前辈名家大师传统的重要活动。1950年代，林岗在苏联写生1950年代林岗在苏联留学时期与同学合影，左一林岗，左二李玉兰1958年，林岗在苏联列宁格勒列宾美术学院（USSRschool ），老师为他指导2017年，林岗在画室邵大箴称林岗是“辛勤、智慧的艺术探索者”，林岗先生自己认为艺术需要99%的努力加1%的天赋。本次展览以回顾林岗先生80余年的艺术历程为基本思路，展览通过“热血与感觉——早期经历和《群英会上的赵桂兰》”“使命与拼命——留学苏联的七年时光”“情感与形式的统一——历史画的创作探索”“色与形的韵味——色彩在写生中的探索”“播种者——画室制教学实践”“更直接一些——抽象探索中的空间”六个板块，全面勾勒林岗艺术创作的轮廓，并着重展示不同时期、不同绘画风格之间的内在统一，捕捉林岗先生艺术生命的脉搏。《群英会上的赵桂兰》（作者放大原作）林岗绢本设色 138 x 176cm 1951年中央美术学院美术馆藏《狱中》林岗布面油彩 160x282cm 1961年中国国家博物馆藏《万里征程诗不尽（马背诗篇）》林岗，厐壔布面油彩 180x298cm 1977年中国国家博物馆藏《峥嵘岁月（长征路上）》林岗，厐壔布面油彩 165x300cm 1979年中国国家博物馆藏▲▲▲ 艺术，靠爱好、本能加汗水 ——林岗《日落时分》林岗 45x35cm 木板油彩 1963年艺术家自藏▲▲▲ 我现在觉得好的色彩要有巧克力的感觉，成熟、浑厚、丰富。——林岗《倒影》林岗 43×38cm 纸板油彩 1977 艺术家自藏《赛马小英雄雪巴》林岗 53.6×78cm 布面油彩 1978年艺术家自藏▲▲▲ 现代艺术就是每个人可以尽量发挥自己的才华，自己的想象力，我们最基本的思想就是给同学自由。我们非常看重学生自己的性格和爱好，在第四工作室成立的发言上我强调了“自然流露”四个字。——林岗《攀登》林岗 150x124cm 布面丙烯 2008年艺术家自藏▲▲▲ 曾国藩的名言：莫问收获，但问耕耘。——林岗 “创作过程的苦与乐，也是一种精神享受；我喜欢这种感觉，随心所欲！”林岗先生深爱他所从事的艺术创作，也希望本次展览能将林岗先生创作中的“苦与乐”与观众分享。展览将持续至10月13日。| 艺术家简介 |林岗1924 年生于山东省宁津。中央美术学院油画系教授，中国美术家协会会员，历任油画系研究生导师、油画系第二工作室、第四工作室主任。1947 年入华北联合大学美术系学习。1949 －1950 年为北京中央美术学院研究生，留校任教。1954 － 1960年入原苏联列宾美术学院油画系学习，毕业于约干松工作室。之后继续在中央美术学院油画系任教。作品数十次参加全国性、北京市及中央美术学院等画展、联展以及赴国外之画展，并为国内外博物馆及私人收藏。入典英国剑桥世界名人传记中心编《世界名人录》，为世界范围内“500 名杰出人物”，获“20 世纪成就奖”；并入典美国名人传记研究院编《世界名人录》，获“杰出人物奖”；获中国文学艺术联合会颁发的第十一届造型表演艺术成就奖；获首批“中央美术学院杰出教授”称号。出版有《林岗画集》（人民美术出版社）。百年辉煌·中央美术学院艺术名家大艺不言——林岗先生百岁艺术展主办：中央美术学院承办：中央美术学院党委宣传部中央美术学院美术馆中央美术学院油画系支持：中国国家博物馆北京美术家协会展览时间：2024年9月11日–10月13日展览地点：中央美术学院美术馆3层B展厅总策划：徐扬林茂项目策划：袁元徐新立展览总监：靳军韩文超展览统筹：王春辰高高吴琼特别支持：林延韦佳彭伟华策展人：李垚辰展览协调：赵晶孙文设计总监：纪玉洁主编 / 何一沙责编/ 杜隐珠
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: 艺术拼到最后，最关键的是热爱丨“大艺不言：林岗先生百岁艺术展”开展

2024-09-13

9月11日下午，“大艺不言——林岗先生百岁艺术展”在中央美术学院美术馆开幕。中央美术学院老领导、老教授杨先让、杜键、彭鸿远、曹春生、潘世勋、文国璋、孙家钵、孙景波、王同仁、高天雄、陈文骥、黄华英等，中国美术馆党委书记安远远，北京画院院长吴洪亮，林岗先生之女、艺术家林延等亲友代表，中央美术学院院长林茂，党委副书记、纪委书记刘培元，党委副书记王晓琳，院长助理潘承辉及各院系、部门负责人与师生代表共同参加了开幕式。开幕式由中央美术学院美术馆馆长靳军主持。开幕式现场“今年，林岗先生跨入期颐之年，我们为之高兴和鼓舞，此时为先生做一次大型回顾性展览，梳理其艺术历程和学术脉络，展示林岗先生丰硕的艺术创作成果，是学校的荣幸，也是美院薪火传承的使命。”中央美术学院院长林茂表示，此次展览向为中国美术事业和美术教育事业做出突出贡献的老一辈艺术家致敬，学习他们“心有大我”“心有大艺”的艺术情怀。他谈到，展览自今年年初启动以来，展览学术团队怀着崇敬之情，孜孜以求，认真梳理了林岗先生的作品与文献，通过勾勒林岗先生数十年的写生积累和抽象之变间的内在联系，系统梳理了林岗先生七十余年来的重要艺术创作、学术及教育成就，力求呈现艺术家对艺术的挚爱和不断突破自我的探索精神，呈现出林岗先生内在的精神世界，呈现一个艺术家低调而丰富的人生。“1952年，我们绘画系毕业班到河北省饶阳县五公村耿长锁农业合作社，为毕业创作体验生活两个月,由冯法祀先生领队，林岗先生作为助教，所以我一直称呼他是我们的‘小先生’。”林岗先生学生代表、中央美术学院老教授杨先让先生回忆了学生时代下乡的经历。他谈到，1950年代，林岗先生创作的《群英会上的赵桂兰》，罗工柳先生创作的《地道战》及董希文先生创作的《开国大典》，震撼了全国美术界，正是以徐悲鸿先生为首的教学团队，名符其实地撑起了“中央美院”的领军声誉，林岗先生在这个团队中起着十分重要的作用。“闻立鹏先生曾回忆与林岗先生初次相识时的情景。当时，他只知道林岗先生有一个非常特别的名字——‘石蛮子’。经过半个世纪的交往，闻立鹏先生似乎找到了这个名字背后的含义。通过先生的作品，他看到了一种如‘巨石’般的阳刚之气和坚韧不拔的精神。”中央美术学院油画系第四工作室主任裴咏梅谈到，四工作室的每一位前辈艺术家都是时代的先锋，他们独立不群的个性和对艺术的不懈追求，坚如磐石，守护着晚辈后学心灵的圣殿，共同铸就了中央美院的辉煌历史。这份坚守和成就，是中央美术学院学子的骄傲，也是我们不断学习和追求的榜样。“无论是在大画布上还是在那三十几本小的速写本里，他都是忘我地沉浸在他内心的情感世界中。”林岗先生家属代表、林岗之女林延谈到，此次展览是对父亲艺术生涯的回顾和总结，是对他艺术精神的传承和弘扬，也是对父亲百岁生日最好的祝福。“父亲经常说，艺术拼到最后，最关键的是热爱。他鼓励我们勇敢追求自己的梦想，无论环境如何，都要保护好自己内心深处属于自己的空间，哪怕有时候已经被挤压得很小了，终有一天，它会大放异彩。希望更多人了解父亲的艺术成就，研究他的艺术语言，同时也希望，通过展览能让更多热爱艺术的年轻人受益。”
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: CAFAM直播预告｜韦佳导览林岗先生百岁艺术展

2024-09-25

CAFAM9月25日（周三）14:00在抖音、微信视频号关注@中央美术学院美术馆官方账号不见不散一起感受林岗先生对艺术不灭的热爱C A F A M直播介绍 -------------------------------------------------------------------------------------9月11日，“大艺不言——林岗百岁艺术展”于中央美术学院美术馆正式开幕。展览以回顾林岗先生80余年的艺术历程为基本思路，展览通过六个板块，全面勾勒林岗艺术创作的轮廓，并着重展示不同时期、不同绘画风格之间的内在统一，捕捉林岗先生艺术生命的脉搏。本次活动特邀林岗先生的家人、艺术家——韦佳老师为公众带来精彩的展览导览，分享他对林岗先生艺术作品的独到体会和深刻见解。用韦老师的话来说，是分享他的“观后感和对作品的分析，非常个人的观点。是给热爱艺术的人，讲艺术和艺术探索的故事。” 活动时间：2024年9月25日（周三）14:00活动地点：中央美术学院美术馆三层B展厅主讲人韦佳◤画家，现居纽约和北京。少年时期师从张伯驹、潘素先生，深入学习中国传统山水画及诗词。1984年，毕业于中央美术学院油画系第三工作室。1987年，于美国布鲁姆斯堡宾西法尼亚大学视觉艺术系获得硕士学位。2007-2014年，于中央美术学院油画系客座教学主持人李垚辰◤中央美院美术馆典藏部主任“大艺不言——林岗百岁艺术展”展览策展人
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: Exhibition Interpretation | Reviewing Mr. Lin Gang's artistic journey of "Great art is wordless".

2024-09-27

Century of Glory: Famous Artists of the Central Academy of Fine Arts.Great Art is Wordless - The Centenary Art Exhibition of Mr. Lin Gang.Preface“As we know, a great university is not defined by having grand buildings, but by having great masters.” Since the founding of the Central Academy of Fine Arts 106 years ago, it is precisely because it has gathered generations of famous predecessors that there are the glorious fruits of a century-old school history and the continuous spirit of the Central Academy of Fine Arts.Mr. Lin Gang is an outstanding professor of the Central Academy of Fine Arts and an iconic figure in the Chinese oil painting circle, enjoying high reputation in the Chinese art field. He has played a very important role in promoting the development of the school at different historical stages and made important contributions to the development of education and teaching in the school. In 2024, Mr. Lin Gang enters his centenary. We are happy and inspired. At this time, it is an honor for the school and also a mission of passing on the torch to hold a large retrospective exhibition for Mr. Lin Gang, sort out his artistic journey and academic context, and show Mr. Lin Gang's fruitful artistic creation achievements.Mr. Lin Gang is a generation of oil painters who grew up in New China. He has firm cultural ideals, distinct artistic styles, and has always been at the forefront of the changes and development of the times.He is an artist who dares to break through. In artistic creation, he pursues the most sincere and moving expression, and is not constrained by past achievements, thus opening up one new artistic milestone after another. In his youth, his work "Zhao Guilan at the Gathering of Heroes" showed the new spirit of New China in a simple language. During his study in the Soviet Union, he deeply studied and mastered the language tradition of oil painting modeling and color, "pursuing the vivid and smooth brushwork and colors, and pursuing the beauty of color tones and the sentiment of the picture", and achieved remarkable results. A batch of historical theme creations such as "In Prison", "The Meeting of Jinggangshan", "Eventful Years", and "Endless Poems on the Long Journey" have become a generation of classics with solid modeling, characteristic composition and colors. Since the 1980s, with the thinking of "transcending the limitations of the times", Mr. Lin Gang's paintings have gradually moved from realistic figurative to imagery and abstraction, expressing rich life and real insights through basic painting languages such as dots, lines and surfaces.He is a sincere, upright professor who is deeply loved by students. In teaching, Mr. Lin Gang takes care of students and encourages free creation. Like a father, he gives firm and deep care. He has taught in the second and fourth studios of the Oil Painting Department successively. He has long thought about the development and future of oil painting in China and put it into practice. In particular, in 1985, he established the fourth studio of the Oil Painting Department, taking the lead of the times, expanding the field of oil painting education in China, cultivating a large number of talents and having a profound influence.This exhibition is carefully prepared and planned. Based on the basic idea of reviewing Mr. Lin Gang's artistic journey, it outlines the contours of his artistic creation through six sections: "Enthusiasm and Sensation", "Mission and Struggle", "Unity of Emotion and Form", "Charm of Color and Shape", "Sower", and "More Direct". It focuses on showing the internal unity between different periods and different painting styles and capturing the pulse of Mr. Lin Gang's artistic life. "Great art is wordless". Mr. Lin Gang has infected the younger generations with his life-long artistic practice and powerful works one by one. "Don't ask about the harvest, but ask about the cultivation." It is the cultivation and struggle of generations of famous masters like Mr. Lin Gang that have accumulated the rich heritage of the art academy."There are thousand-year-old trees in the mountains, but it is rare to meet a centenarian in the world." At the centenary age, Mr. Lin Gang's life, art and spirit are extremely precious for the century-old art academy and worthy of our careful experience and inheritance. Finally, I sincerely wish Mr. Lin Gang health and longevity!Lin MaoDean of the Central Academy of Fine ArtsYouth is not a time of life; it is a state of mind. It is not a matter of rosy cheeks, red lips and supple knees. It is a matter of the will, a quality of the imagination, a vigor of the emotions. It is the freshness of the deep springs of life.——Samuel Ullman (USA)Note: The texts in this exhibition are all selected from Mr. Lin Gang's self-narration or notes. We hope that through the artist's most authentic language, the audience can shorten the distance with the artist and enter the artist's spiritual world.Section 1Enthusiasm and Sensation - Early Experiencesand "Zhao Guilan at the Gathering of Heroes"In the early 1950s, teachers and students majoring in painting at the art academy were all painting New Year pictures and picture-story books. Teachers Xu Beihong and Wang Shikuo gave creative lessons to me, Feng Zhen, Li Qi, Deng Shu, Liang Yulong, and two students from the art department of Central University in the dilapidated house of the sculpture department at the back of the art academy. We discussed how to learn from old New Year pictures, create new New Year pictures, and how to use our skills to create New Year pictures that are loved by the people and serve the people. Everyone was really full of enthusiasm. Including Mr. Li Keran, Ye Qianyu, and Gu Yuan, although they were somewhat unaccustomed in painting methods, they were all very active.The third New Year picture I painted is "Zhao Guilan at the Gathering of Heroes". I saw a report about Zhao Guilan in the newspaper. It said that Premier Zhou led Zhao Guilan to meet Chairman Mao. I was very touched. First, Zhao Guilan's deeds of being unfortunately injured while saving public property are very touching. Second, the scene of Premier Zhou leading her to meet Chairman Mao is very touching. The chairman and civilians are equal. This is something that only exists in New China. Later, the school asked me to tell my classmates about the creative experience of this painting. In fact, after talking for a long time, it was just the two words "excitement".For the composition, I referred to Leonardo da Vinci's "The Last Supper", with a large white table and perspective. Because I had seen it in the library of the art academy before and I liked it very much and was deeply impressed. In fact, when I painted this picture, I only knew the perspective of sketching and flat coloring with single lines. I hadn't learned anything about color at all. I just had a little feeling. Looking back now, I really don't know how I painted it at that time. It was completely relying on feeling. So until now, I highly praise feeling. I once wrote in my own notebook "Long live feeling". Painting mainly depends on feeling. What's in your heart is what you will naturally draw.—By Lin GangZhao Guilan at the Gathering of Heroes. Lin Gang. Color on silk. 138×176cm. 1951. Collected by the Art Museum of the Central Academy of Fine Arts.The chairman and civilians are equal. This is something that only exists in New China.—By Lin GangIn September 1950, the "National Conference of Model Workers from Workers, Peasants and Soldiers" and the "National Conference of Combat Heroes" were held in Beijing. I borrowed a camera from someone else. Seizing the opportunity of the model workers' meeting and holding the introduction letter for meeting opened by the school, I visited Zhao Guilan. I hurriedly took a few photos in the yard of the All-China Federation of Trade Unions. I also collected several images such as female train drivers and Xinjiang youths from newspapers. Then I started painting in a studio of the old Central Academy of Fine Arts. Because I had the experience of creating picture-story books, it was not difficult to show the story plot.—By Lin GangAfter painting "Zhao Guilan at the Gathering of Heroes" in 1950, the "People's Daily" organized several of us young teachers such as Wu Bidan and Hou Yimin to go to North Korea for sketching to enliven the cultural life of the Chinese People's Volunteer Army. We followed the troops all the way to Seoul. At night, we could hear the sound of bullets sweeping by. It was quite terrifying.—By Lin GangKorean War Battlefield Sketch 2. Lin Gang. 1951. 25×20cm. Sketch on paper. Collected by the artist.Korean War Battlefield Sketch 3. Lin Gang. 1951. 22×17cm. Sketch on paper. Collected by the artist.Korean War Battlefield Sketch 4. Lin Gang. 1951. 22.5×17.5cm. Sketch on paper. Collected by the artist.Section 2Mission and Struggle—Seven Years of Studying in the Soviet Union.Shortly after the founding of New China, the state publicly sent a large number of young people of different majors to study in the Soviet Union. Because "Zhao Guilan at the Gathering of Heroes" had a relatively good response, in 1954, I was publicly sent to study at the Repin Academy of Fine Arts in Leningrad, the Soviet Union. At that time, Soviet movies, music, literature, and art had a great influence on us. So I was very excited to be able to study abroad.Our living expenses were at an upper-middle level among students, but everyone was still very frugal. Xiao Feng and I often ate bread with salted fish and a little butter, and then drank some water. We used the money we saved to buy a large number of small pictures and oil paints. Everyone felt that our whole body was supplied by the country from top to bottom. How many farmers were working there to support our study abroad. We must learn the good things of the Soviet Union and come back to serve the country.In China, I had only painted picture-story books and New Year pictures. I had never learned sketching, and as for oil painting, I had never painted it. So after arriving in the Soviet Union, I studied desperately. I worked extremely hard. It's 99% effort plus 1% talent.The days in Leningrad are very short. Especially in winter, it doesn't get bright until 11 am, and it gets dark at 3 pm. We took advantage of the daylight to practice color quickly. When the light dimmed in the afternoon, we drew sketches under the lamp. The school studio was not closed. The dormitory was right next to the school. We often painted very late. Sometimes we painted until 11 pm. When our eyes saw things double, we had to go back to the dormitory.I think the most important thing I learned in the Soviet Union is color. Many Soviet classmates in the art academy were also secretly trying various artistic changes, exchanging their experimental experiences with each other, and holding exhibitions at home. The initial influence of modernist art on me came from the after-class creations of these Soviet classmates.—By Lin GangRussian Woman. Lin Gang. 1958. 99×71.5cm. Oil on canvas. Collected by the artist.Art depends on instinct, hobby and sweat.—By Lin GangRussian Old Man #1. Lin Gang. 1958. 35×25.3cm. Sketch on paper. Collected by the artist.Russian Old Man #2. Lin Gang. 1958. 38×29cm. Sketch on paper. Collected by the artist.By the Volga River. Lin Gang. In the 1950s. 15.5×30.5cm. Oil on paper. Collected by the Art Museum of the Central Academy of Fine Arts.Beach. Lin Gang. 1957. 17×25cm. Oil on cardboard. Collected by the artist.Diagnosis. Lin Gang. 1959. 140×115cm. Oil on canvas. Collected by the Art Museum of the Central Academy of Fine Arts.
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: Great art is beyond words. Pang Jun: "Lin Gang learns like a blank sheet of paper."

2024-10-06

The large-scale retrospective solo exhibition of Mr. Lin Gang, "Great Art is Beyond Words - The Centenary Art Exhibition of Mr. Lin Gang," is currently on display in Exhibition Hall B on the third floor of the Art Museum of the Central Academy of Fine Arts. This exhibition showcases nearly 200 works by the renowned oil painter Mr. Lin Gang, completely presenting his artistic achievements. In 2024, the People's Republic of China welcomes the 75th anniversary. As the first generation of oil painters cultivated by New China and one of the first batch of outstanding professors of the Central Academy of Fine Arts, Mr. Lin Gang has always been at the forefront of the changes and development of the times. His artistic creation experience is an important sample for studying the development of modern Chinese art history.Upon learning about the exhibition news of "Great Art is Beyond Words - The Centenary Art Exhibition of Mr. Lin Gang," Mr. Pang Jun specially wrote an article recalling Mr. Lin Gang's time studying oil painting in the Soviet Union, the transformation process of his artistic style, and his profound insights into oil painting creation. From a unique perspective, it shows the style and image of the first batch of oil painters cultivated by New China who are constantly exploring and surpassing themselves.In this issue's push, we specially publish Mr. Pang Jun's "My Understanding of Lin Gang." Through Mr. Pang Jun's perspective, we can get to know Mr. Lin Gang who is always extremely diligent and learns like a blank sheet of paper. He is always at the forefront of the development and changes of the times and constantly creates his own painting language.My Understanding of Lin Gang (Excerpt)By Pang JunBefore Lin Gang went to study at the Repin Academy of Fine Arts in St. Petersburg, he had never formally received the (academic) sketch training of the Chinese Academy of Fine Arts, nor had he painted oil paintings. Due to his painting talent, in 1951, he created and painted the New Year picture "Zhao Guilan at the Gathering of Heroes". With accurate modeling, vivid characters and perfect composition, he won the first prize for national New Year pictures, which is very astonishing. He himself is a very taciturn person, down-to-earth and always extremely diligent. At that time, he was a lecturer at the Central Academy of Fine Arts in Beijing. From 1954 to 1960, he entered the Repin Academy of Fine Arts in St. Petersburg, the Soviet Union at that time and entered the studio of Yeganson. Yeganson is an important Soviet oil painter and also a leading figure in teaching at the Repin Academy of Fine Arts. It is very difficult to enter his studio. From then on, Lin Gang learned Russian traditional sketch teaching and oil painting teaching like a blank sheet of paper and achieved excellent results. Among the students who studied art in the Soviet Union in New China, he is a painter who has learned the ontology of oil painting techniques, mainly showing the skills of oil painting colors and brushwork.Zhao Guilan at the Gathering of Heroes - Sketch. Lin Gang. 1951. 19×27cm. Sketch on paper. Collected by the artist.Chairman's Sketch at the Gathering of Heroes. Lin Gang. 1951. 14×10.5cm. Sketch on silk. Collected by the artist.Sketch of a Head. Repin Academy of Fine Arts. Lin Gang. 1954. 39.6×54.5cm. Sketch on paper. Collected by the artist.In 1956, Lin Gang and other students studying in the Soviet Union returned to China to experience life and collect materials. I accompanied them to sketch and at the same time absorb their experience. According to Lin Gang's introduction, the biggest difference between Chinese and Russian students is that Russian students have been learning art since childhood and have strong painting abilities. In two weeks of sketch practice in class, they can finish it in one week. In the second week, they all don't come to class. Only a few Chinese students are left, struggling to depict... and even "work overtime" at night to fill in the background. "Grades" are ground out in this way, and they can also get a score of 5 (the highest score). The same is true for oil painting practice. Foreign students can easily finish painting in one week. In the second week, they go out to play by themselves. While Chinese students paint from beginning to end... This makes me understand where the difference in standards lies. One is to complete works by one's own strength. The other is to painstakingly and even "refer to" the excellent results of others in a high-level environment and finish painting by making changes. Although one has learned to some extent the color-mixing formula for painting white people... After returning to China, when painting yellow-skinned Chinese people, especially farmers or Tibetans, one is still at a loss. This means that one has not learned well enough and still doesn't feel good. Oil painting colors and brushwork methods are still not good. Looking at Lin Gang's oil paintings, the brushwork is relatively relaxed and intertwined with each other by pressing... He specially mentioned that oil painting cannot be replaced by sketching methods. It must be modeled with colors, with red and green intertwined. This is his only experience. He learned to appreciate and learn the techniques of the Impressionists from his teacher. His teacher Yeganson is also like this. Due to political factors, he dare not openly advocate learning from Korovin of Russia, because he is the only Impressionist painter in Russia. But everyone admires Korovin and learns from him. Yeganson always secretly looks at his works when there is no one around. This is a secret known to everyone. Lin Gang told me that his best and most admired classmate in the Soviet Union is a classmate who specializes in imitating the French Fauvist painter Marquet. Lin Gang brought back a work of his to China. It is a cityscape in gray tones, very similar to Marquet's composition. Lin Gang repeatedly emphasized: Look, the color of the water he painted seems to be the same, but from near to far, there are very subtle differences in colors, and the space is perspective. Painting oil paintings is about painting space... I also particularly love Marquet's works. This work of a Soviet classmate was lent to me by Lin Gang for 20 years. I kept looking at it every day hanging by my bedside until it was returned to its owner in 1979. I remember there is also a very small oil painting, probably only 25 centimeters. Looking closely, only some colors are piled up, and the brushwork is very "jumpy"... But looking from a distance, the houses, streets, and walking figures are all very vivid, and the space is good. Lin Gang said very modestly that he has been learning and experiencing the oil painting methods of Westerners...Colored Clouds. Lin Gang. 1959. 11×25.5cm. Oil on cardboard. Collected by the artist.When Chinese people paint oil paintings, there is always an unconscious habit, which is to carefully depict and "carve out" the shapes. While in Western oil painting methods, people always first grasp the colors by feeling and slowly present the shapes with interlaced brushstrokes.Artists cultivated in New China, including veteran cadres from the Lu Xun Academy of Arts in Yan'an: Teacher Luo Gongliu is also a person who is very sensitive to oil painting colors. He entered the Repin Academy of Fine Arts in St. Petersburg for advanced studies one year later than Lin Gang. In the Soviet Union, he copied Repin's work "Ivan the Terrible and His Son" and also copied Korovin's work: a girl sitting on the windowsill (backlit), with very good colors. He is my creative teacher and later became a good friend with a great age difference. He introduced to me a lot of his experiences with oil paintings. Neither Luo Gongliu nor Lin Gang ever talked about creative issues starting from ideology. They only talked about the artistic issues of oil painting itself. Briefly speaking, it is the importance of oil painting colors and brushwork... In particular, he mentioned that the history of Soviet oil paintings comes from France. In the era of the tsar, the nobles all spoke French and thought their own language was too rustic. They invited the French to come to Russia to establish an art academy. The professors and even the models had to be French... Later, they had their own teachers, such as Kramskoy. He specifically mentioned that Repin's colors were always not good and he couldn't paint sunlight. He went to study in France for three years. As a result, he himself said that he still couldn't paint sunlight well. Therefore, many of his creations were done indoors. In the 1950s, classmates studying in the Soviet Union, such as Ma Yunhong, Luo Gongliu, and Li Jun, all copied Korovin's works. Later, I also copied a still life by Korovin and hung it in the house, learning the method of using different colors to interlace and handle the edges to shape the forms. Ma Yunhong is also a painter who is very sensitive to colors. Classmates studying in the Soviet Union exchanged experiences with foreign classmates. What they admired were Rembrandt and Velázquez. For sketches, it was Fechin... There were photos taken from the original works printed and passed around and collected... They studied Rembrandt's transparent and translucent painting methods. Lin Gang copied Rembrandt's works. The first historical painting he painted after returning to China, "In Prison," was completely painted in a transparent method...In Prison. Lin Gang. 1961. 160×282cm. Oil on canvas. Collected by the National Museum of China.In the 1980s, Pang Tao first went to Paris for further studies. Later, Lin Gang and Lin Yan's whole family went to the United States. After about a year, he saw the huge changes in world art. Many modern and contemporary arts have a stronger visual appeal. They seem to be influenced by the theories of Kandinsky and Klee. They rethought their own painting styles and generated new desires and interests for exploration... It is the most difficult thing for art to deny itself. It must have a strong ideological foundation and willpower. Both Lin Gang and Pang Tao have changed. After graduating from the Central Academy of Fine Arts, Lin Yan went to study in the United States and naturally walked on the road of contemporary art... For Lin Gang's changes, many people do not understand and even feel some regret. In fact, Lin Gang has always been a person who can accept new things. Precisely because of this, when he had nothing about Western traditional art and went to Russia to study, he quickly grasped the learning method. From the very beginning, he accepted and mastered Western traditional sketching and oil painting methods, rather than arduously changing himself on the basis of "rustic" sketches and "rustic" oil paintings, with burdens and old habits that cannot be shed. What I observe about Lin Gang's exploration of expressing abstract and semi-abstract art is very different from that of the Western world. Generally, Westerners who paint abstract paintings are extremely individualistic, emotional, accidental, and even only pursue the accidental effects of using different materials, rather than completing works on the basis of their own skills and cultivation. Lin Gang still belongs to the thinking type, and even constantly arranges black, white, and gray in deep thought and explores compositional effects... He delights in painting many small sketch compositions...Abstract sketchIn the 1990s, Lin Gang and Pang Tao stayed in Taipei for half a year. Lin Gang was almost always holed up in a small room drawing compositions every day. His greatest interest was watching Li Ao on TV talking loudly and scolding people... He felt relaxed and happy about this free and very self-centered way. Many years ago, I once invited my good friend Ma Yunhong, who settled in Canada, to return to China at the same time for a reunion. We went to the south of the Yangtze River together for me to sketch... In Beijing, I accompanied him to see Lin Gang sitting in a wheelchair. I helped him take out his works for Ma Yunhong to see: all were abstract paintings. Ma Yunhong asked, 'Why do you paint like this now?'Lin Gang replied, 'This is how I feel now.'... In fact, he just wanted to find symbols to express his thoughts and emotions, rather than depicting reality...Contest between Blue and Black. Lin Gang. 1997. 46×40cm. Oil on canvas. Collected by the artist.About ten years ago or so, Lin Gang and Pang Tao held a two-person exhibition at the National Art Museum of China... Since they lived in the suburbs of Beijing, I booked a room at the Overseas Chinese Hotel for them. On the opening day, Lin Gang didn't go to participate. I also stayed at the hotel. When I went to Lin Gang's room, I saw him sitting in a wheelchair, staring out the window in a daze by himself. I asked him, "Are you really not going to attend the opening ceremony?" He replied thoughtfully, "You go to the seminar! You talk about the issues of oil painting..." He said to himself, "Now there are no people who paint oil paintings in the country anymore! Probably only Zhang Wenxin and Chen Beixin..." In his opinion, many paintings painted with oil painting colors are not oil paintings and cannot be considered oil painting art. He didn't have time to continue painting his new ideas. He is already one hundred years old... I think I have been marginalized and am an outsider. I didn't speak at the seminar. I only heard everyone recalling Lin Gang's teaching and the cordial and friendly relationship with his classmates... Centenary Glory · Famous Artists of the Central Academy of Fine ArtsGreat Art is Beyond Words - The Centenary Art Exhibition of Mr. Lin GangOrganizer: Central Academy of Fine ArtsUndertakers: Propaganda Department of the Party Committee of the Central Academy of Fine ArtsArt Museum of the Central Academy of Fine ArtsOil Painting Department of the Central Academy of Fine ArtsSupporters: National Museum of ChinaBeijing Artists AssociationExhibition Dates: September 11 - October 13, 2024Exhibition Venue: Exhibition Hall B on the third floor of the CAFA Art Museum Editor-in-chief / He YishaResponsible editor / Du Yinzhu
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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.

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

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

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Group Visit Agreement
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CAFA Art Museum Publication Authorization Agreement

CAFA Art Museum Event Safety Disclaimer

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Article II

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

Article V

Article VI

CAFA Art Museum Portraiture Rights Licensing Agreement

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.

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

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

(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.

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(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.

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