Exhibitions and Events-News- CAFA Art Museum

Exhibitions and Events－News

Focusing on important exhibition and activity info of CAFA Art Museum, and updates the latest news of international museum industry.

: CAFAM馆藏陈列 |《夯歌》——三米多画幅，展现新中国劳动者的青春与激情

2024-10-07

王文彬先生于1962年创作完成《夯歌》这件油画作品，它是王文彬美院学习的毕业创作，也是他艺术生涯中的代表作，被誉为中国现实主义油画的经典作品。我国在改革开放之前，尤其是在广大农村，在进行大型工程打地基的时候，还是要靠人工来把地基打结实，这项工作被称为打夯。>>>>夯歌王文彬 1962年布面油彩 156×320cm 中央美术学院美术馆藏《夯歌》这件作品便是捕捉住这一典型的劳动瞬间。画面中主要表现唱着夯歌打夯的农家姑娘。在构图上，艺术家选取仰视的视角，将主要人物安排在视平线以上的位置。姑娘们的身体动势形成一组放射状的斜线，给人以升腾的感觉。同时，背景中群山的位置都被巧妙的处理在人物的腰线以下，更增加人物形象的高大感。在色彩上，强调外光的效果。灿烂的阳光下，姑娘们身上彩色的衣服，经由地面的暖色反光，颜色更显透彻和轻盈。作品1962年参加文化部组织的“新芽”美展，马上引起美术界的注目，成为表现时代的优秀作品。多年之后回看王文彬先生的《夯歌》，画面中所透露出来的蓬勃朝气依然感动着大家，这件作品也成为最能代表新中国建设的美术作品之一。>>>>中央美术学院美术馆藏陈列——现代中国美术展览时间：2024年7月23日起展览地点：中央美术学院美术馆2层B展厅展览专业照明赞助：AKZU（深圳市埃克苏照明系统有限公司）展览空间建筑设计顾问：中国建筑科学研究院主编 / 何一沙责编 / 杜隐珠
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: 大艺不言丨庞均：“林岗就像一张白纸一样学习”

2024-10-06

林岗先生的大型回顾个展“大艺不言——林岗先生百岁艺术展”正在中央美术学院美术馆3层B展厅展出。本次展览展出著名油画家林岗先生的作品近200幅，完整的展现了林岗先生的艺术成就。2024年，中华人民共和国迎来75周年华诞，林岗先生作为新中国培养起来的第一代油画家，作为中央美术学院的首批杰出教授，总是走在一直走在时代变更和发展的前沿，他的艺术创作经历是研究中国现代美术史发展的重要样本。庞均先生获悉“大艺不言——林岗先生百岁艺术展”展讯，特写下文章回忆林岗先生在苏联学习油画的时光，艺术风格的转变过程，以及他对油画创作的深刻见解，以独特的视角展现了新中国培养的第一批油画家不断探索和自我超越的风貌形象。本期推送，我们特将庞均先生“我对林岗的了解”刊发，通过庞均先生的视角来认识一个始终十分勤奋，像一张白纸一样学习的林岗先生，始终走在时代发展和变更的前沿，不断创造自己的绘画语言。我对林岗的了解（节选）庞均林岗在没有去圣彼得堡列宾美术学院学习之前，完全没有正式学过中国美术学院的（学院派）式的素描训练，更没有画过油画。由于他的绘画天赋，他在1951年创作，画了年画《群英会上的赵桂兰》，造型准确、人物生动、构图完美，获得了全国年画一等奖，十分惊人。他本人是一位十分寡言、踏踏实实、始终十分勤奋的人，在当年任教于北京中央美术学院讲师，1954-1960年进入当年苏联圣彼得堡列宾美术学院学习，进入“约干松”工作室。约干松是苏联重要的油画家，也是列宾美术学院教学的领军人物，能够进入到他的工作室，十分不容易。从此林岗就像一张白纸一样学习俄国传统式的素描教学与油画教学，成绩优良。他是新中国留学苏联艺术的学子中，学到了油画技术本体的画家，主要表现油画色彩和用笔的技巧。群英会上的赵桂兰——素描稿林岗 1951年 19×27cm 纸本素描艺术家自藏群英会上主席素描稿林岗 1951年 14×10.5cm 绢本素描艺术家自藏素描头像列宾美术学院林岗 1954年 39.6×54.5cm 纸本素描艺术家自藏1956年，林岗等留苏的同学回国体验生活，收集素材。我陪同他们一起写生，同时也是吸收他们的经验，据林岗的介绍：中国和俄国同学最大的不同是：俄国同学从小学习艺术，有很强的绘画能力，在课堂上两个星期的素描练习一个星期就画完了，第二个星期全部不来上课，只剩下几个中国同学，在苦苦描绘⋯，甚至晚上再＂加班＂补画背景。＂成绩＂就是这样磨出来的，也可以取得5分（最高分）的成绩。油画练习同样如此：外国同学一个星期轻松画完，第二个星期自己出去玩了，而中国同学是从头画到最后⋯⋯。这就让我明白了水准的差异所在：一种是靠自己的实力完成作品，另一种是在高水平的环境下吃力地、甚至可以＂参考＂别人的优异成果，改来改去画完作品，虽然多少也学会了画白种人的调色配方⋯。回国以后：画黄皮肤的中国人，特别是画农民或西藏人等，仍然是束手无策。这就是没有学到家，感觉仍然不好。油画色彩与用笔方法依旧不行。看来林岗的油画：用笔比较放松、互相压来压去交错在一起⋯⋯，他特别提到：画油画不能用素描的方法替代，必须是用色彩造型，红绿交错，这是他唯一的体会。他从他的老师那里学会了欣赏与学习印象派的技法。他的老师约干松也是这样：因为政治因素不敢公开提倡学习俄国的柯罗文，因为他是俄国唯一的印象派画家，但是大家都佩服柯罗文并学习他，约干松在没有人的情况下，自己总是偷偷地看他的作品，这是大家都知道的秘密。林岗告诉我：他在苏联最相好的同学也是最佩服的同学是专门学习模仿法国野兽派画家马尔盖的，林岗带了一幅他的作品回国，是一幅灰色调的城市风景，很像马尔盖的构图，林岗一再强调：你看他水的颜色画得好像是一样的，但是从近处到远处、色彩有很微妙的差别，空间就透视过去了，画油画就是要画空间⋯⋯我自己也特别喜爱马尔盖的作品，这幅苏联同学的作品，林岗借给我20年，我一直挂着我的床头天天看它，直到1979年才物归原主。记得还有一幅非常小的油画，大概只有25公分，近看：只是堆积了一些色彩，用笔十分＂跳动＂⋯但远看房屋、街道、行走的人物，都非常生动，空间很好，林岗很谦虚的说，他一直在学习体会西方人的油画方法⋯⋯彩云林岗 1959年 11×25.5cm 纸板油彩艺术家自藏中国人画油画，总是有一种不自觉的习惯，这就是小心翼翼的描绘“刻”出造型，而西方的油画方法，总是先凭感觉抓住色彩用交错的笔触慢慢呈现出造型。新中国培养出来的艺术家、包括从延安鲁艺出来的老干部：罗工柳老师，亦是一位对油画色彩很敏感的人，他比林岗晚一年进入彼得堡列宾美术学院进修研究所，他在苏联临摹了列宾的作品《依凡杀子》，也临摹了柯罗文的作品：一位女孩坐在窗台上（背光）色彩非常好。他是我的创作老师，后来成了忘年之交的好朋友，他向我介绍了很多他对油画的体验，罗工柳同林岗都从来不谈从意识形态出发的创作问题，只谈油画本身的艺术问题，简单地说：就是油画色彩与用笔的重要性⋯⋯，特别谈到苏联油画的历史是来自法国，在沙皇时代，贵族门都是讲法文，嫌自己的语言太土，请法国人到俄国办美术学院，教授甚至模特儿都必须是法国人⋯⋯后来才有了自己的老师，例如克拉姆斯柯依，他特别提到列宾始终色彩不好，不会画阳光，他到法国去留学了三年，结果自己表示还是画不好阳光，因此他的许多创作都是在室内。50年代在苏联留学的同学：马运鸿、罗工柳、李俊等人都临摹了柯罗文的作品，后来我也临摹了一幅柯罗文的静物，挂在屋内，学习到了用不同颜色交错处理边线塑造形体的方法。马运鸿也是一位对色彩十分敏感的画家。在苏联留学的同学，他们同外国同学互相交流心得，崇拜的是，林布兰和委拉斯贵兹，素描是费钦⋯⋯，印有从原作拍下的照片、互相传递收藏⋯⋯，研究林布兰的透明画法和半透明画法，林岗临摹了林布兰的作品，他在回国以后所画的第一幅历史画：《狱中》就完全是透明画法⋯⋯。狱中林岗 1961年 160×282cm 布面油彩中国国家博物馆藏二十世纪八十年代：庞涛首先去巴黎进修，后来林岗同林延全家都去了美国，大约一年左右，他看到了世界艺术的巨大变化：许多现当代艺术具有更强烈的视觉感染力，他们似乎受到了康定斯基和克利的理论影响，重新思考了自己的画风，产生了新的探索欲望和兴趣⋯。艺术要否定自己是最困难的一件事，必须要有强大的思想基础和意志力。林岗和庞涛都改变了。林延从中央美术学院毕业以后，去到美国留学，也就自然的走在当代艺术的道路上⋯⋯。对于林岗的变化，许多人不理解，甚至有所惋惜，其实林岗从来都是一个能够接受新事物的人，正因为是这样：他在对西方传统艺术一无所有的情况下，去到俄国学习，很快就掌握到了学习的方法。一开始就接受掌握了西方传统的素描法和油画方法，而不是在土素描、土油画的基础上吃力地改变自己，有甩不掉的包袱和旧习惯。我所观察到林岗探索表现抽象和半抽象艺术，与西方世界有很大的不同：西方人，一般画抽象画是极端个人主义的、情绪化的、偶发性的、甚至只追求运用不同材料的偶然性效果，而不是在自己功力与修养的基础上完成作品。林岗还是属于思考性的，甚至不断冥思苦想的安排黑白灰、探求构图效果⋯⋯他是津津有味地画许多素描小构图⋯⋯。抽象画稿九十年代：林岗、庞涛曾在台北小住半年，林岗几乎是天天闷在小屋内画构图。他最大的兴趣就是看电视上的李敖在高谈阔论地骂人⋯⋯。他对这种自由自在，十分自我的方式，感到轻松愉快。在多年以前：我曾经约在加拿大定居的好友马运鸿，同一时间回国内团聚，一起到江南陪我写生⋯⋯，在北京我陪他去看坐在轮椅上的林岗，我帮他拿出作品给马运鸿看：全部是抽象画，马运鸿问：＂为什么现在这样画？＂林岗回答：＂这就是我现在的感觉＂……，其实他只想寻找表达自己思想与情绪的符号，而不是描绘现实⋯⋯。蓝与黑的较量林岗 1997年 46×40cm 布面油彩艺术家自藏大约十年前左右：林岗、庞涛在中国美术馆举办了一次双个展⋯⋯。因为他们住在北京郊区，我就为他们订了华侨酒店的居室。开幕那一天林岗不去参加，我也留在酒店，我去到林岗的居室，看到他坐在轮椅上，独自对着窗外发呆：我问他＂你真的不去参加开幕式？＂他若有所思回答说：＂你去参加研讨会吧！你去谈谈油画的问题⋯⋯＂他自言自语地说：＂现在国内已经没有画油画的人了！大概只有一个张文新和谌北新⋯⋯＂在他看来：许多人用油画颜色画出的画并非是油画，谈不上油画艺术。他来不及继续画他新的想法，他已经一百岁了⋯⋯。我认为我自己已经边缘化，是一个外人，在研讨会上我没有发言，只是听到大家回忆林岗的教学与同学们的关系亲切而友好⋯⋯ 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展厅主编 / 何一沙责编 / 杜隐珠
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: 从来风俗亦有诗 | “诗”字何来？

2024-10-05

文化和旅游部“2024年全国美术馆馆藏精品展出季”入选项目从来风俗亦有诗——馆藏作品中的古今人物风貌作为一种独特的艺术形式，古代风俗画不仅具有“风化幽微”的教化功能，还通过生动的视觉图景展现了各时代的社会风貌和文化特征。这些作品不仅记录了历史中的瞬间，同时也蕴含了深刻的思想内涵。本次展览将古代风俗画与现代影像并置，通过贯穿于中华文明的“诗意”，展现出中国人崇尚礼仪、乐观豁达、顽强不息以及饱含文化自信的精神面貌，引导观众更深刻地理解古代风俗画中的人民性与诗意情怀。从“今年元夜时，月与灯依旧”到“七月流火，八月萑苇”，从“想见汴京全盛日，春游多少太平人”到“打得鲜鳞归去早，蓼花深处卖鱼羹”，无不赋予现实生活以诗意的想象和情感的共鸣。“诗是无形画，画是有形诗”。正如宋代文学家张舜所言，古代文化中的诗与画常常紧密地联系在一起。在此次展览中，我们也特别将画意与诗句做成了一种呼应。下面请随我们一起寻找展厅中的诗句与画意吧。正月一日为岁之朝，为祝新年伊始所画作品，称为“岁朝图”。岁朝图常见两类，瓶花清供和庆贺场景，一静一动，皆为吉祥瑞意。后者中主要题材为婴戏，节日期间，童子们耍鱼灯、吹喇叭、燃鞭炮、拉象车、耍花枪、贴门神，既表现了热闹喜庆的场景，也传递了年年有余、太平有象等新年祝愿。仇英（款）《岁朝图》（卷）绢本设色明中央美术学院美术馆藏围炉献岁聚春斋，椒盏辛盘一室皆。更有佳朋过略彴，任教稚子闹庭阶。—— 乾隆爆竹声中一岁除，春风送暖入屠苏。千门万户曈曈日，总把新桃换旧符。—— 王安石
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: "1001 Stories--An Exhibition of Storybooks from Children of Tengchong Yunnan Province" on Display

2024-10-02

1001个故事——云南腾冲儿童故事书展主办方：青苗学校顺义校区承办方：中央美术学院美术馆主策展人：Jason Liao 策划团队：Jason Liao、Elas Cai、Tony Z hu展览时间：2024年9月30日—10月7日展览地点：中央美术学院美术馆一层圆弧楼梯9月30日，“1001个故事——云南腾冲儿童故事书展”在中央美术学院美术馆开幕。本次展览是由青苗学生Jason Liao、Elsa Cai、Tony Zhu在顺义校区组织的一项学生主导的志愿者活动。这些学生行程超过2000公里，来到腾冲的一个农村社区，介绍1001个故事项目和赋权种子的环境可持续性计划。Seeds of Empowerment由斯坦福大学研究生于2004年创立，是一项旨在促进教育公平的全球教育倡议活动。
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: National Day Holiday Opening Notice and Guided Tour Arrangement

2024-09-30

Dear audience:In order to meet the public's demand for exhibitions, the museum will open normally during the National Day holiday (October 1-October 7), and the visiting time is from 9:30 to 17:30 (admission will be closed at 17:00). Visitors can make a reservation through the "Central Academy of Fine Arts Art Museum small program".Art Museum of the Central Academy of Fine ArtsSeptember 30, 2024At the same time, the museum will provide the public with regular volunteer guided tours. Reservation is not required for this service. Visitors are requested to go on time to the front of the preface wall of the exhibition at the entrance of the corresponding exhibition hall and wait at the "public service guide sign".| On Show |01020304050607
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: CAFAM News | Our Museum Successfully Held The National Art Museum Curator Training Course On-site Teaching Activities

2024-09-29

近日，由文化和旅游部艺术司主办、中央文化和旅游管理干部学院承办的全国美术馆馆长培训班顺利开展，并于9月26日下午在中央美术学院进行现场教学活动。各位馆长莅临美术馆，进行了深入的现场教学交流。中央美术学院院长林茂出席并致欢迎辞，美术馆馆长靳军、直属党支部书记韩文超、副馆长高高等馆领导共同参加活动。林茂院长表示，在全国深入学习贯彻党的二十届三中全会精神之际，中央美术学院非常荣幸迎来全国美术馆馆长培训班的现场教学活动。作为教育部直属的高等美术学院，中央美术学院不仅专业设置全面，涵盖造型艺术、设计建筑、人文理论等十六个专业院系，更以其现代性和综合性在中国高等教育领域中占据重要地位。此次活动的举办，体现了对中央美术学院教育质量和学术水平的充分认可。中央美术学院的历史可追溯至1918年成立的国立北京美术学校，是中国第一所国家美术教育学府。在深厚的历史积淀基础上，中央美术学院积极拥抱新时代，致力于深化美术教育改革，激发美术的创造性和能动性，更好地将美术与国家社会发展实践相结合。而中央美术学院美术馆作为展示学院收藏研究、教育教学、科研创作的平台，以及对外交流的重要窗口，近年来在藏品整理、研究展示、展览活动以及美育普及等方面取得了显著成就，促进了学院与社会的互动交流。美术馆自2010年获评首批国家重点美术馆，2021年获选首批国家科普教育基地。近年来，通过专业化的管理，并且在文化和旅游部艺术司及全国兄弟单位的大力支持下，美术馆积极参与文旅部的各类项目，并在馆藏精品展出季、年度展览、青年策展人扶持项目、年度公共教育活动等方面取得了可观的成绩。去年，习近平总书记对美术馆事业未来的发展提出了新的目标和规划。沿着这一重要指导思想，中央美术学院美术馆将在未来进一步与兄弟单位携手合作，共同为繁荣美术事业和推进文化自信贡献力量。活动当天，中央美术学院教授曹庆晖为学员们进行“第一届全国美展作品资料典藏展的策划”专题教学及参观了馆内相关展览，并与各位馆长进行了深度的交流和探讨。相信在各方的共同努力下，中国的美术馆事业和展览美育事业将迎来更加美好的未来。当前展览01中央美术学院美术馆藏陈列——现代中国美术展览时间：2024年7月23日起展览地点：中央美术学院美术馆2层B展厅02百年辉煌·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03文化和旅游部“2024年全国美术馆馆藏精品展出季”入选项目从来风俗亦有诗——馆藏作品中的古今人物风貌展览时间：2024年9月10日—10月8日展览地点：中央美术学院美术馆3层A展厅04中央美术学院人文学院典藏研究“1949年第一届全国美展”作品资料典藏展展览时间：2024年9月10日—2024年10月8日展览地点：中央美术学院美术馆四层展厅052024年全国科普日系列活动固态沉积：有关矿物的存档展览时间：2024年9月10日—10月8日展览地点：中央美术学院美术馆一层展厅06玉·见广角——钱亮玉质媒材艺术研究展展览时间：2024年9月10日—10月7日展览地点：中央美术学院美术馆2层C展厅主编 / 何一沙责编 / 杜隐珠现场图 / 贺伊飞
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: CAFAM馆藏陈列 | 《轰炸》：滑田友雕塑中的母爱与抗争

2024-09-29

滑田友是中国雕塑和雕塑教育事业的开创者。留学和生活于法国近15年，1948年归国后，以艺术创作和美术教育极大地推动了中国现代雕塑的发展。>>>>《轰炸》滑田友 1946年铸铜 116×90cm 中央美术学院美术馆藏《轰炸》是滑田友在法期间的创作，但构思来源却来自20世纪上半页中国的战争苦难。1932年，上海“一·二八”事变时，滑田友看见日本飞机轰炸南市的惨景，这成为《轰炸》的构思来源。1937年，滑田友在法国得知南京遭轰炸后，创作了《轰炸》立体构图稿和《轰炸后》圆雕稿，至1945年第二次世界大战结束后才最终完成《轰炸》。作品塑造了一位年轻母亲在轰炸中惊慌奔走的形象。一位裹着头巾的母亲惊慌失色的望向天空中，右手紧搂着幼儿，幼儿也依偎在母亲身上，左手则奋力拉着几岁大的孩子，孩子双手抱头并贴紧母亲，雕塑打破了常规均衡式的构图，身体前倾，呈现出一种强烈的动势。三个人物形象紧张的神情和动作传达出深处战火的恐惧感，但母亲并未倒下，而是刚强的矗立，象征着恐惧中的反抗与悲切中的激愤。这种简洁而富有力度的表现方式使得作品具有强大的艺术感染力。著名雕塑家钱绍武认为，“滑田友先生把当时欧洲流行的几何构成因素，转换为充满东方人理解的充满情感因素的几何体，这种探索体现了一种中西融合，在当时雕塑界是很重要的。”>>>>中央美术学院美术馆藏陈列——现代中国美术展览时间：2024年7月23日起展览地点：中央美术学院美术馆2层B展厅展览专业照明赞助：AKZU（深圳市埃克苏照明系统有限公司）展览空间建筑设计顾问：中国建筑科学研究院主编 / 何一沙责编 / 杜隐珠
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: CAFAM Art Appreciation & Practice Workshop | An Art Journey in Autumn.

2024-09-27

4.Xu Bing, "Where There Are Mountains", 53×73 cm, woodblock monochrome, 1988. Collected by CAFA Art Museum.Since the opening of the CAFAM collection exhibition, it has received great attention from the audience. Based on the CAFAM collection exhibition, this activity invites you to watch the fine art exhibition under the leadership of the tutor and present your own understanding of landscapes and scenery on paper.Course content1.Landscape sketch or sketch creation practice. (Paper materials)2.Students can choose any landscape work in the exhibition by themselves. The teacher will analyze its style and characteristics and explain the characteristics and application of materials. Under the guidance of the tutor, students can complete one or several complete paintings.3.The teacher will demonstrate and guide during the painting practice.4.Work sharing and discussion.Learning methods1.The teacher will lead the team and explain at the exhibition site for 30 minutes. Students can choose their favorite landscape paintings and take photos for preservation.2.After visiting the exhibition, go to the workshop for painting practice.Keywords for painting practiceThe application of pencils, colored pencils and gel pens.The handling of virtual and real, near and far views, and copying by implication.Painting materialsPencils or colored pencils or gel pens, watercolor paper or sketch paper or sketching paper (the paper does not need to be too large. As long as you can control the picture by yourself.).Note: Please prepare your own painting materials.Workshop InformationTime: 10:00 - 12:00 on September 28th (Saturday).Location: Conference room, Art Museum of the Central Academy of Fine Arts.Target participants: Adults over 18 years old.Number of participants: 15 - 20 people.Professional tutor:Teacher Xi, majoring in oil painting, Ph.D. in fine arts.Registration methodPlease add WeChat account 13910187193 (Teacher Yao), mark "workshop + real name + phone number + occupation" and send an application. The number of places is limited and registration will end when all places are filled. Successful registrants will receive a text message reply. Please do not submit the registration repeatedly.Notes:1.For this experience, please purchase the museum ticket in advance on your own.2.Participation in the workshop is free. Painting materials need to be prepared by yourself.3.The Art Museum of the Central Academy of Fine Arts reserves the right of final interpretation of this activity.Exhibition of Collections of CAFA Art Museum - Modern Chinese Art.Exhibition time: From July 23, 2024.Exhibition location: Exhibition Hall B on the second floor of CAFA Art Museum.Editor-in-chief / He Yisha.Responsible editor / Du Yinzhu.
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: 展览解读 | 回顾林岗先生“大艺不言”的艺术历程

2024-09-27

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前言“所谓大学者，非谓有大楼之谓也，有大师之谓也”，中央美术学院创校106年来，正是因为汇聚了一代又一代的名家先贤，才有了百年校史的辉煌硕果，才有了赓续不断的央美精神。林岗先生是中央美术学院的杰出教授，也是中国油画界的标志性人物，在中国美术界享有赞誉。他在学校不同历史阶段的发展中都起到了十分重要的推动作用，对于学校的教育教学发展做出了重要贡献。2024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，也是薪火传承的使命。林岗先生是在新中国成长起来的一代油画家，有着坚定的文化理想，鲜明的艺术风格，一直走在时代变更和发展的前沿。他是敢于突破的艺术家，在艺术创作中追求最为真挚、感动的表达，不拘泥于过往的成就，从而开拓一个又一个新的艺术里程。青年时期，他创作的《群英会上的赵桂兰》以朴素的语言展现了新中国的新精神。留苏期间的他深入研究并掌握了油画造型和色彩的语言传统，“追求淋漓舒畅的笔法和色彩，追求色调美和画面的情致”，成绩卓著。《狱中》《井冈山会师》《峥嵘岁月》《万里征程诗不尽》等一批历史主题创作以坚实的造型、特色的构图和色彩，成为一代经典。20世纪80年代开始，带着“超越时代局限”的思考，林岗先生的绘画从写实具像逐渐走向意象和抽象，通过点线面等基本绘画语言，表达丰富的人生与现实的体悟。他是真诚、正直，倍受学生爱戴的教授。林岗先生在教学中呵护学生，鼓励自由创造，如父辈一样，给与坚定而深沉的关怀。他先后在油画系第二工作室和第四工作室任教，长期思考油画在中国的发展与未来，并付诸实践。特别是1985年创建油画系第四工作室，开时代之先风，拓展中国油画教育的领域，培养了大批人才，影响深远。本次展览精心筹备策划，以回顾林岗先生的艺术历程为基本思路，通过“热血与感觉”“使命与拼命”“情感与形式的统一”“色与形的韵味”“播种者”“更直接一些”六个板块勾勒他艺术创作的轮廓，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。“大艺不言”，林岗先生用一生的艺术实践，一件件有力的作品感染着后辈晚生；“莫问收获，但问耕耘”，正是林岗先生这样的一代代名家大师的耕耘与奋斗，积淀了美术学院的丰厚底蕴。“山中自有千年树,世上难逢百岁人”，期颐之年的林岗先生的人生、艺术与精神，对于百年美院而言，难能宝贵，值得我们细细体会和传承。最后，衷心祝愿林岗先生健康长寿！林茂中央美术学院院长青春不是人生的一段时光，它是一种精神状态，他不在于红颜、朱唇和轻快的腿脚，而在于它的意志力、创造力和充沛的精力，他是使人生充满活力的泉源。——塞缪尔·尤尔曼（美）注：本次展览中的文字都选自林岗先生的自述或笔记，希望通过艺术家最真实的语言，使观众拉近与艺术家的距离，走入艺术家的精神世界。板块一热血与感觉——早期经历和《群英会上的赵桂兰》50 年代初，美术学院绘画专业的师生都在画年画、连环画。徐悲鸿、王式廓老师给我、冯真、李琦、邓澍、梁玉龙，还有两个中央大学美术系的学生在美院后面雕塑系的破房子里上创作课，讨论如何学习旧年画，创作新年画，如何用一技之长创作人民群众喜闻乐见的年画，为人民服务。大家真是一腔热情，包括李可染、叶浅予、古元等先生，虽然在画法上有些不习惯，但是都非常积极。我画的第三张年画就是《群英会上的赵桂兰》。我在报纸上看到一段赵桂兰的报道，说周总理领着赵桂兰去见毛主席，觉得很感动。一是赵桂兰为救公家财产不幸受伤的事迹很感人，二是周总理领着她去见毛主席这画面很感人。主席和平民是平等的，这是新中国才有的事儿。后来学校叫我给同学们讲这张画的创作经验，其实讲了半天就是“激动”两个字。构图上参考了达芬奇的《最后的晚餐》，大白条桌子，焦点透视，因为过去在美院图书馆看过，非常喜欢，印象深刻。其实我画这张画的时候，只知道素描的焦点透视和单线平涂，色彩一点都没有学过，只是有点感觉。现在回头看，真不知道当时是怎么画出来的，完全依靠感觉。所以直到现在我都非常推崇感觉，我曾在自己的小本上写道“感觉万岁”，画画主要靠感觉，你内心是什么样的，你自然画出来就是什么样的。——林岗群英会上的赵桂兰林岗绢本设色 138×176cm 1951年中央美术学院美术馆藏主席和平民是平等的，这是新中国才有的事儿。——林岗1950 年 9 月，“全国工农兵劳动模范代表会议”和“全国战斗英雄代表会议”在北京举办，我从别人那儿借来一个相机，抓住劳模开会的机会，拿着由学校开的见面介绍信去访问了赵桂兰，在总工会的院子里匆忙抓拍了几张照片，又在报纸上收集到了女火车司机、新疆青年等几个形象，然后就在老美院的一个画室开始画。因为有创作连环画的经验，所以要把故事情节表现出来并不困难。——林岗1950 年画完《群英会上的赵桂兰》之后，《人民日报》组织伍必端、侯一民等我们几个年轻教师去朝鲜写生，活跃志愿军的文化生活。我们跟着部队一直跑到汉城，晚上能听到子弹噗噗扫过的声音，挺可怕的。——林岗抗美援朝战地速写2 林岗 1951年 25×20cm 纸本速写艺术家自藏抗美援朝战地速写3 林岗 1951年 22×17cm 纸本速写艺术家自藏抗美援朝战地速写4 林岗 1951年 22.5×17.5cm 纸本速写艺术家自藏板块二使命与拼命——留学苏联的七年时光新中国刚成立后，国家公派了大批不同专业的青年到苏联学习。因为《群英会上的赵桂兰》反响比较好，1954 年我被公派前往苏联列宁格勒列宾美术学院留学，当时苏联的电影、音乐、文学、美术对我们影响很大，所以能去留学非常激动。我们的生活费在学生里算得中上水平，但大家还都非常节俭，我和肖峰经常是咸鱼抹点黄油就着面包吃，再喝点水，用省下来的钱买一大堆小画片、油画颜料。大家都觉得我们全身从上到下全是国家供给的，多少农民在那儿劳动供我们留学，我们一定要把苏联的好东西学到手，回来报效国家。在国内我只画过连环画、年画，没学过素描，至于油画就没画过。所以到了苏联以后就拼命学。我特别努力，99%的努力加1%的天赋嘛。列宁格勒白天很短，尤其到冬天，上午 11 点天才亮，下午 3 点天就黑了。我们就趁天亮抓紧练色彩，下午光线暗下来了，就灯下画素描。学校画室不关门，宿舍就在学校旁边，我们就经常画到很晚，有时候画到 11 点，眼睛看东西都成双线了，才只好回宿舍。我觉得在苏联最主要学到的就是色彩，美术学院里的很多苏联同学也在私底下尝试各种艺术变革，互相交流各自的实验体会，自己在家里搞展览。现代主义艺术对我最初的影响就是来自于这些苏联同学的课下创作。——林岗俄罗斯妇人林岗 1958年 99×71.5cm 布面油彩艺术家自藏艺术，靠本能、爱好加汗水。——林岗俄罗斯老汉#1 林岗 1958年 35×25.3cm 纸本素描艺术家自藏俄罗斯老汉#2 林岗 1958年 38×29cm 纸本素描艺术家自藏伏尔加河边林岗 1950年代 15.5×30.5cm 纸本油彩中央美术学院美术馆藏沙滩林岗 1957年 17×25cm 纸板油彩艺术家自藏诊林岗 1959年 140×115cm 布面油彩中央美术学院美术馆藏
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: Huang Xiaofeng: Recording an epoch-making cultural event - The collection exhibition of works and materials of the first China National Art Exhibition in 1949.

2024-09-26

The collection exhibition of works and materials of the first National Art Exhibition in 1949 is a modern art research exhibition independently planned by the School of Humanities based on its collections and putting collections to practical use. As part of the collection research work that our school plans to focus on planning and implementing in the future, this exhibition was launched in mid-April this year. It mainly uses the treasure in our school's collection - the works and materials remaining from the art (fine arts) exhibition held at the National Literary and Art Workers' Congress in 1949 - to carry out collation and research. At the same time, in the form of an exhibition, it presents the basic appearance of 75 years ago, when on the occasion of welcoming the national victory and liberation and the birth of the People's Republic of China, the two major literary and artistic creation forces in the areas under the control of the Kuomintang and the liberated areas converged in Peiping, accepted the review of creation and the baptism of new literary and artistic thoughts.The works and materials of the first National Art Exhibition in 1949 that have survived to this day are of extraordinary and far-reaching significance for our school, the Central Academy of Fine Arts, the Chinese Artists Association, and the national literary and artistic workers represented by the China Federation of Literary and Art Circles. Just as Professor Cao Qinghui, the curator, said in a report on planning work during the summer vacation, the works and materials of the first National Art Exhibition collected by the School of Humanities of the Central Academy of Fine Arts in a historical opportunity are by no means limited to the first National Art Exhibition itself. Rather than saying that we are collecting an exhibition, it is better to say that we are collecting an epoch-making cultural event. Looking from this perspective, a new people's literary and artistic trend closely related to each of our ideological lives and visual logic is converging, growing, and surging. Therefore, it is the responsibility of our School of Humanities as a collecting unit to sort out and compile this cultural event with solid scientific working methods, study and expound on this cultural event with profound speculation of historical materialism and dialectical materialism, and deeply understand the realistic creative thinking process and experience of authors and works with the research methods of iconography, material science, chronology, and visual culture. At the same time, it is also the responsibility of our School of Humanities as a teaching unit to educate people.In September 1949, after the exhibition of the first National Art Exhibition at the National Peiping Art College ended, it was moved to the Shanghai Daxin Company for a touring exhibition. In September 2024, the collection exhibition of works and materials of the first National Art Exhibition in 1949 opened at the Art Museum of the Central Academy of Fine Arts. Seventy-five years have passed in the blink of an eye, but we must pay high tribute to Dean Jiang Feng who arranged for this batch of treasures to be preserved for the Central Academy of Fine Arts at that time and for the purpose of collecting materials for modern art research, and to Professor Li Shusheng, assistant of Dean Jiang Feng and who has been responsible for taking care of this batch of treasures for a long time. Thanks to the Art Museum and Library of the Central Academy of Fine Arts for providing collections to support the exhibition, thanks to the National Library and artists and their families for providing literature and old photo assistance for the exhibition, and thanks to the teachers and students of the School of Humanities who have worked hard to sort out the exhibition materials.In the summer of 2024, the planning work under the scorching sun is truly hot and exciting; in the autumn of 2024, at the dazzling exhibition site, there will surely be long and lingering thoughts...Huang XiaofengDean of the School of Humanities, CAFA.Some exhibited worksLi BinghongWang Xianming, the Explosion ModelWatercolor on paper28.7×42cmIn 1947Collected by the School of Humanities, CAFA.Chen ShuliangReturnTraditional Chinese painting, meticulous heavy-color on paper54.7×27.6cmIn 1948CAFA.Gu YuanBridge of MenWoodcut, color overprint on woodblock20.5×36cmCAFA Art Museum, in 1948.Chen YanqiaoLu Xun wrote: In any case, the future will surely belong to us.Woodcut manuscript, ink brush31.3×32.6cmCollected by the School of Humanities, CAFA, in 1949.Li HuaProfessor's CareerWoodcut, single color on woodblock16×22cmCAFA Art Museum, in 1948.Guan ShanyueDongshuimen, ChongqingTraditional Chinese painting33.4×47.5cmAround 1942Collected by the School of Humanities, CAFA.Zhang YangxiSeventy-Year-Old LonerInk wash37×58.1cmCollected by the School of Humanities,CAFA, in 1944.Pang XunqinDance of the Miao Ethnic Group29.8×34.5cmAround 1949Collected by the School of Humanities,CAFA.Tu KeCarnivalWatercolor27.5×37.1cmCollected by the School of Humanities, CAFA, in 1948.Zhang LepingThe Vast World (Shanghai under the rule of the Kuomintang).Cartoon, ink on paper.43.3×35.5cm.Collected by the School of Humanities,CAFA, in 1948.Liao Bingxiong.Seeking Knowledge with Burning Blood.Cartoon, colored.46.3×35.8cm.Collected by the School of Humanities,CAFA, around 1949.Research on Collections of the School of Humanities of CAFA.Collection Exhibition of Works and Materials of “The First National Art Exhibition in 1949”.Sponsor: School of Humanities, CAFA.Co-organizer:CAFA Art Museum .Exhibition Time: From September 10, 2024 to October 8, 2024.Exhibition Venue: Exhibition Hall on the fourth floor of the CAFA Art Museum.Editor-in-chief / He Yisha.Responsible editor / Du Yinzhu.
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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.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

CAFA Art Museum Event Safety Disclaimer

Article I

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.

Additional Terms

(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.

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

CAFA Art Museum Event Safety Disclaimer

Article I

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.

Additional Terms

(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.

I have carefully read and agree to the above provisions.