The proletariat mode of Russian propagandistic art was much driven by the Leninist mode of Menshevik thought, so that it could condone a limited extent of conservation on either Czarist or Orthodox aesthetic elements.
However, China under Mao Zedong reinterpreted such Soviet-Russian art style as inclining to Bolshevism advocated by Joseph Stalin. Thus, there was an elimination of Romanticism from the Modern Chinese oil paintings of the fine art academies since the administration of CCP, which resulted in a brutal suppression on all kinds of Western European art styles including French or German aesthetics. On the contrary, Russian paintings within the Soviet era still allowed the existence of Post-Impressionistic and Expressionistic elements of French and German art due to a respect to religious affections.
If tracing back the histories of Sino-foreign cultural exchanges, Xu Beihong did persuade the Soviet Russians to humbly apply the harmonious aesthetic nutrients of Lingnan literati painting for protecting the Romanticist and humanistic elements of Russian art even though the Soviet Union introduced propagandistic art. He did not agree with Wassily Kandinsky’s pessimistic approach of reforming Russian art with Bauhaus industrial values as an escape from the Soviet political suppression.
7. 俄羅斯間奏曲 (1914年-
1921年)
“The sun melts all of
Moscow down to a
single spot that, like a
mad tuba, starts all of
the heart and all of the
soul vibrating. But no,
this uniformity of red is
not the most beautiful
hour. It is only the final
chord of a symphony
that takes every colour
to the zenith of life that,
like the fortissimo of a
great orchestra, is both
compelled and allowed
by Moscow to ring out.” In Grey, oil on canvas 129 х 176 sm, Paris,
Musee National Art Moderne, Centre
Georges Pompidou
8. 點,線和面 (包浩
斯 1922年-1933年)
Constructivism
Suprematism
1923年組成「Die
BlaueVier」 (Blue
Four):成員亦有
Paul Klee、Lyonel
Feininger及Alexej
von Jawlensky
Wassily Kandinsky, 1903, OnWhite II
20. ArtAsiaPacific (reported on Issue 77 of
Mar/Apr 2012):
Based in Macau since 1992, this Russian-
born artist has become a fixture in the local
art scene. In 2007, he even represented
the SAR at theVenice Biennale, where he
exhibited copies of works by the 18th-
century Venetian painter Canaletto —
commissioned from the art reproduction
market in nearby Zhuhai, a city just north
of the Macau-China border. Bessmertny,
who was born in Russia’s Amur Oblast
province, across the river from China’s
northeastern province of Heilongjiang,
claims an affinity with his adopted home,
with its architectural and social diversity.
Despite his quips about Macau’s tightfisted
government, which he says hoards its
gambling revenue rather than investing in
cultural development, Bessmertny asserts
without hesitation: “Macau is my favorite
city in Asia.”
21. 10 Chancery Lane Gallery – Casino Republic Series
Left: Allegory ofJustice N.V,Contract Enforcement & Coercion of Constrain
(2012-2014)
Right: Gambling for Living.Casino Republic (2014)
22. 10 Chancery Lane Gallery – Casino Republic Series
Left: I Admit the above. Casino Republic (2014)
Right: L’Etat, C’Est Moi! CanSmoke & Free Noodles (2014)
23. 10 Chancery Lane Gallery –Transformation of Chow
Chun Fai’s Style Series
Le Charme Discret (remake) – 2009
24. 10 Chancery Lane Gallery –Transformation of Chow Chun Fai’s Style
Series
Remake.This is not Kulturnyi in the Afternoon – 2011
33 Degree – 2013
25. 10 Chancery Lane Gallery –Transformation of Italian
Renaissance Series
Causarum Cognitio. Philosophicus – 2009
26. 10 Chancery Lane Gallery – Kowtowing to PRC Hegemony Series
Left: Swimming Before Breakfast N.VI – 2014
Middle: ChinaTrade Painting N.1 (after Georges Chinnery) – 2014
Right: E. meetsW. Revenge of Green Dragon – 2014
27. 甄巍 著:《現代美術.鑑賞導引系列
2》。香港:三聯書店 (香港)有限公
司,2001年1月第一版第一次印刷。
Galerie Le Createur, “Together –We
Explore, Explain & Appreciate the
World of Arts – Book 1”, 1st Edition in
2011, Hong Kong, Boarder Less
澳門藝術博物館 主編:《斯國斯民.
俄羅斯國立特列季亞科夫畫廊精品展
概覽》。澳門:澳門藝術博物館,
2019年1月。
Stephen J. Lee, “Aspects of European
History 1789-1980”, 1st Edition in 1982,
Reprinted in 1987, London, Routledge
徐悲鴻 原著、王震 選編,《徐悲鴻論
藝》。上海:上海書畫出版社,2010
年1 月第1版。