1949年至1976年这个特殊的时代,没有哪个时代像当时几乎全民拿起画笔为社会服务,也没有哪个时代如此重视美术的功能性作用。红色经典,这个特殊历史阶段的特殊产物,真实地再现了当时的社会面貌,具有独一无二的历史价值和文献价值。1966年至1976年间,“红色经典”作品大都在1972年至1975年的全国美展中得以展出,通过分析这些作品的题材不难发现,虽然1949年以米的历次运动也给艺术家的创作提供了很好的素材,但是革命历史题材始终是整个“毛泽东时代美术”(1942年至1976年)不朽的表现题材。如刘春华在1967创作完成的《毛主席去安源》,参加了当年10月份的“毛泽东思想的光辉照亮了安源工人运动”展览会,并且在会上引起了广泛关注。之后《毛主席去安源》油 From 1949 to 1976, in this special era, no one era took on brush like most other people in the community at that time to serve the community. No one era paid so much attention to the functional function of fine arts. The red classic, a special product of this special historical stage, truly reproduces the social outlook at that time and has unique historical value and documentary value. From 1966 to 1976, most of the works of Red Classics were exhibited at national art exhibitions from 1972 to 1975. Analyzing the themes of these works, it is not difficult to find that although the previous campaigns in 1949 gave the artists Creation provided a very good material, but the theme of revolutionary history has always been the “Mao Zedong era art” (1942-1976) immortal performance theme. For example, Chairman Mao went to Anyuan in 1967 and participated in the Exhibition of Workers Movement in Anyuan in October of that year, which attracted wide attention in the meeting. After “Chairman Mao went to Anyuan” oil