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1964年2月13日(正月初一)生于无锡,祖籍江苏海安,字龙子,号近水斋主人。1980年入无锡二泉画院从事艺术创作,得江南画家邵雪泥先生指导。1984年入江苏文艺学院美术系深得著名书画家赵绪成先生精心教诲,1990年入中国美术学院中国画系人物画研修班,得著名画家冯远、吴山明等先生悉心指导。曾荣获文化部2005年百杰画家,现为中国美协江苏分会会员、中国书法美术家协会理事、北京联合大学书画研究所特聘专家。自1984年举办个展以来,至今已在美国旧金山、新加坡、台湾台北、香港收藏家画廊、首都博物馆、上海朵云轩、青海博物馆、深圳画院以及南京等地举办个展24次,作品曾在《江苏画刊》、《朵云》、《书与画》、《美术界》、《收藏家》及文艺报、中华艺术、美术报等报刊中专题介绍,曾拍4部个人专题片。作品和传略入编《2000中国风、杰出人物特集》、《中国书画名家集》等国家级大型画册。从刘春明的写意仕女画中,我们不难看出画家既有对“笔墨当随时代”的思考,又能在传统与未来、继承与创新中选择“原创与前瞻”的姿态。更为可佳的是,他的作品没有割断与历史、传统的文脉关系。当代人物画的发展表明,对绘画传统的任何绝对化态度都是不可取的,应有的态度是,我们不能否认一切艺术都是文化的产物,从传统走来与“原创和前瞻”之间并不截然对立,它们之间有着千丝万缕的内
February 13, 1964 (the first day of the first month) was born in Wuxi, the ancestral home of Jiangsu MSC, dragon, near the water fasting master. 1980 into the Wuxi Erquan Painting Academy engaged in art creation, Jiangnan painter Mr. Shao Xue mud guidance. He was well-known artist and painter, Mr. Zhao Xucheng, who was educated in art department of Jiangsu Literature and Art College in 1984. In 1990, he took part in the figure painting workshop of Chinese painting department of China Academy of Art. He was well-guided by famous artists such as Feng Yuan and Wu Shanming. Won the Ministry of Culture in 2005 Baijie painter, now the Chinese Artists Association Jiangsu Branch, China Calligraphy Artists Association, Beijing Union University Calligraphy Institute Distinguished experts. Since its solo exhibition was held in 1984, it has held 24 solo exhibitions in San Francisco, Singapore, Taipei, Taiwan, Hong Kong Collectors Gallery, Capital Museum, Shanghai Duoyunxuan, Qinghai Museum, Shenzhen Art Academy and Nanjing in 1984. Pictorial, Duoyun, Book and Painting, The Art Circles, Collectors, and the Arts and Literature, Chinese Arts, Art Galleries and other newspapers and periodicals. Four personal feature films were taken. Works and biography into the “2000 Chinese style, outstanding people feature collection”, “Chinese famous calligraphy and painting” and other national large-scale album. From the artistic painting of Liu Chunming, we can easily see that the artist not only has the thinking of “writing as time goes by”, but also can choose “original and prospective” attitude in tradition and future, inheritance and innovation. Even better is that his work does not cut off the context of history and tradition. The development of contemporary figure painting shows that any absolute attitude to the tradition of painting is not desirable, and the proper attitude is that we can not deny that all arts are the product of culture, and come from the tradition with “originality and foresight” Between the two are not diametrically opposed, there are many inextricable links between them