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艾中信,生于1915年,1937年考入中央大学艺术系,师从徐悲鸿,1940年留校后又受徐悲鸿之邀在北平艺专任副教授,解放后在中央美术学院任教授。他的艺术悟性极高,在追随徐悲鸿、吴作人先生写实风格的同时,又予以深化,走出一条与他们似而不似的道路。1943年艾中信得徐悲鸿指点,赴川西青城山过冬写生,决定了他一生以雪为主题的偏爱特性,描绘了邛崃山的皑皑白雪,在《蜀山隆冬》这幅画上凝注了极大的艺术热情。他在1947年所画的《雪中送炭》是这时期雪景画的延续。在我国油画史短暂的百年中,1937年以前,写实主义并未形成完整的理论体系与共同一致的目标形态,其主要原因在于中国引进西方油画的早期一直到后来,一直力求在逼近自然的纯粹模仿上,题材的局限性亦很大,大多数题材仅仅停留在单纯的写生上。虽然30年代曾掀起过现代主义的狂飚,试图打破这片沉静,但由于战争与诸多政治、社会因素,而遁入消沉。唯有战争的因素,使得写实性绘画生生不息而日益繁盛。后受到普罗文化的影响,产生了许多直接暴露生活底层的好作品,如孙多慈的《打石工》,许幸之的《逃难者》,唐一禾的《七七号角》,艾中信的《雪中送炭》,李宗津的《北平早市》。画家们
Ai Zhongxin, born in 1915, was admitted to the Central University Department of Arts in 1937, under the direction of Xu Beihong. After leaving school in 1940, he was invited by Xu Beihong to become an associate professor at Beiping Art. After the liberation, he was appointed professor at the Central Academy of Fine Arts. His artistic understanding is extremely high. While following the realistic style of Xu Beihong and Wu Zuoren, he deepened himself and stepped out of a path similar to them. In 1943 Ai Zhongxin Xu Beihong guidance, went to the western Sichuan Qingcheng Shan winter sketching, decided to his life with snow-themed preference features, depicting the Qionglai mountains of snow, in the “winter in Shushan,” the painting of great art enthusiasm. He painted in 1947 “helpless” is a continuation of this period of snow landscape. In the short century of history of oil painting in China, before 1937, realism did not form a complete theoretical system and a common target form. The main reason was that from the early stage of the introduction of western oil painting to the later, China always strived to be close to the pureness of nature Imitation, the theme of the limitations are also great, most subjects only stay in the simple sketch. Although the modernist mad bangs were thrown up in the 1930s in an attempt to break the silence, they fell into recession due to the war and many political and social factors. Only the factors of war made the realistic paintings become more and more prosperous. After being influenced by the general culture, many directly exposed good works of life, such as Sun Duoci’s “hit masonry”, Xu Xingzhi’s “fugitives”, Tang Yihe’s “horn 77”, Ai Zhongxin’s “timely assistance” , Li Zongjin’s “Beiping Morning Market.” Painters