Wu Guanzhong1 (吳冠中, 1919–2010)


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YOU CAN WATCH THIS PRESENTATION IN MUSIC HERE (You have a link on the first slide): http://www.authorstream.com/Presentation/michaelasanda-1806850-wu-guanzhong1/

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In 2008, Chinese artist Wu Guanzhong donated 113 of his important works to the National Heritage Board, Singapore. This is the highest-value donation ever given to a public museum institution in Singapore. An internationally eminent artist, Wu is best known for marrying the distinct art form of traditional Chinese ink with modern concepts in Western art. Recently published as a seven-volume anthology, Wu’s writings provide deep insights into his aesthetics and art practice.

Published in: Travel, Entertainment & Humor
  • It is truly a wonderful opportunity to share these amazing artists with others. Thank you Ceca for visiting my page and adding it to your favorites.
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  • @Aluxia
    Gracias Pilar, con su estilo inspirado en los pintores impresionistas de comienzos del siglo XX, Wu Guanzhong, fue, posiblemente, el pintor contemporáneo chino más reconocido.
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  • Una presentación muy bonita con esas pinturas tan curiosas. Un abrazo.
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  • Thank you Johndemi, Pilar and Anais, Thank you....and THANK YOU SLIDESHARE!
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  • Nunca pensé que vería pintura abstracta china pero tienen que actualizarse como todos. Me parecen magníficas estas pinturas, son impresionantes, lo que siento es que no me entero de tus comentarios, buscaré. Muchas gracias querida amiga aprendo mucho contigo y esto me hace feliz. Gracias, Pilar
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  • Wu Guanzhong Sparrows, 1972 Singapore Art Museum
  • Wu Guanzhong Snow Covered Pines of Qingdao The Butterfly Lovers' Violin Concerto is one of the most famous modern works of Chinese music. It is an orchestral adaptation of an ancient legend, the Butterfly Lovers. Written for the western style orchestra, it features a solo violin played using some Chinese techniques. The Butterfly Lovers' Violin Concerto is written in traditional 5-note technique (pentatonic scale), it uses many Chinese melodies, chord structures and patterns. This gives the piece a distinctive "Chinese" sound, though it uses tonal harmonies. The Butterfly Lovers' Violin Concerto was written in 1959 by two Chinese composers, Chen Gang , born 1935) and He Zhanhao (born 1933), while they were students at the Shanghai Conservatory of Music.[1] The music did not attain popularity before the late 1970s, when China loosened its restrictions after the Cultural Revolution. Once released from censorship, it became an embodiment of China in transition. The work is a common feature in figure skating and in concert halls worldwide. This concerto is now often performed with Chinese instruments playing the violin part, the most common being Erhu, Pipa and Liuqin. In such cases the soloist is often accompanied by an orchestra consisting of Chinese instruments. He Zhanhao is more widely credited for the composition of the concerto. However, his main contribution was the famous opening theme while most of the development was in fact written by Chen Gang. This was revealed in an exclusive interview with the latter. The debut of the Butterfly Lovers' Violin Concerto was performed by Yu Lina at the age of 18 in Shanghai as part of the celebration of the 10th anniversary year of the founding of the People's Republic of China. Along with Yu Lina, one of the first violinists who made a recording of this concerto was made in 1959 with SHEN Rong as the soloist with the Symphony Orchestra of Shanghai Music Conservatory conducted by FAN Cheng-wu.
  • Wu Guanzhong1 (吳冠中, 1919–2010)

    1. 1. http://www.authorstream.com/Presentation/michaelasanda-1806850-wu-guanzhong1/
    2. 2. Born in Yixing ( 宜興 ), Wu Guanzhongtraveled to Paris in 1947 to study atthe École Nationale Supérieure desBeaux Arts on a governmentscholarship. Wu’s style reminiscent ofthe impressionist painters of the early1900s with admiration for Braque,Matisse, Utrillo, Gauguin, Cézanne,Picasso, and especially for Van Gogh. ‘Wu’s paintings have the color senseand formal principles of Westernpaintings, but a spirit and tonalvariations of ink that is typicallyChinese. Natural scenery is reduced toits essentials.’Wu introduced aspects of Western artto his students at the Central Academyof Fine Art in Beijing, where he taughtfrom 1950 to 1953.  He was appointeda Professor at the Central Institute ofArts and Crafts, Beijing in 1964.  In1991 Wu was made an Officier del’Ordre des Arts et des Lettres by theFrench Ministry of Culture.Do you know ( 吳冠中 , 1919–2010) isone of the bestknowncontemporarypainters ofChinese origin? His paintingswere exhibited atthe BritishMuseum in 1992,which was thefirst for a livingChinese artistWu is said to have destroyed much of hisearly work as the Red Army approachedhis home in 1966. They seized hisbelongings and forbade him to paint orwrite. He then spent several years servinghard labor in a rural town. Publiclychided, he was forced to condemn his ownwork and ideas.As restraints loosened in the early 1970s,Wu rededicated himself to his work,focusing intently on the ancient Chinesemedium of ink.
    3. 3. WuGuanzhongphotographedbyChuaSooBin,1988
    4. 4. China flower market in India, 1919Lilac, 1991
    5. 5. SpringtotheNorth,1996SoldPriceHKD12,400,000(USD1,593,830)
    6. 6. Wu GuanzhongSpring in South, 2006As WuGuanzhong,once said,“There is noboundary interms of art;art belongs tothe world, notto a certainnation orcountry.”
    7. 7. 1995 Yangtze River DeltaWu Guanzhong Attachment, 2001
    8. 8. Wu GuanzhongWaves 1990
    9. 9. Watertown"Whenever I am atan impasse, I turnto natural scenery.In nature I canreveal my truefeelings to themountains andrivers: my depth offeelings toward themotherland andmy love toward mypeople. I set offfrom my ownnative village andLu Xun’s nativesoil.“Wu Guanzhong
    10. 10. Lu Xuns Old HomeHometown Morning, 1960
    11. 11. A See of Bamboo, 1985Singapore Art Museum
    12. 12. "Brush-and-ink ismisunderstood as beingthe only choice for life andthe future path of Chinesepainting, and thestandards of brush-and-ink painting are used tojudge whether any work isgood or bad. Brush-and-ink is a technique.Brushwork is embodiedwithin technique,technique is not embodiedwithin brushwork, andtechnique is only a meansthat serves the artist inthe expression of hisemotions."Wu Guanzhong
    13. 13. "The beauty of abstractform is extracted fromconcrete objects anddistilled according tothe intrinsic qualitiesof the form. The art ofroot carving retainscertain concreteaspects, and it isconsidered verybeautiful. This is calledtransforming thecommon and uselessinto the marvelous andthe quality of abstractbeauty is foremost increating this effect. Onthe other hand, we alsosee some artworks thattransform themarvelous intosomething commonand useless."Wu Guanzhong
    14. 14. Sound of Countryside, 1993Singapore Art Museum
    15. 15. "The fundamentalelements of formal beautycomprise form, color, andrhythm. I used easternrhythms in the absorptionof western form andcolor, like a snakeswallowing an elephant.Sometimes I felt I couldn’tgulp it all down and Iswitched to using Chineseink. This is why in the mid-1970s I began creating alarge number of inkpaintings. As of today inmy explorations I still shiftbetween oil and ink. Oilpaint and ink are twoblades of the same pair ofscissors used to cut thepattern for a whole newsuit. To nationalize oilpainting and tomodernize Chinesepainting: in my view theseare two s ides of the sameface.“Wu Guanzhong
    16. 16. Pandas (1992)
    17. 17. Cranes dancing, 2002
    18. 18. WisteriaSelect Quotes of Wu Guanzhong fromAbstraction and Form, Meishu (FineArts) in 1992, translated by Valerie C.Doran for the exhibition catalogueRevolutionary Ink: The Paintings of WuGuanzhong (New York: Asia Society,2012)
    19. 19. Sound: Zhan-hao Ho, Chen Kang: Butterfly Lovers Concerto (I)Text and pictures: InternetCopyright: All the images belong to their authorsPresentation: Sanda Foi oreanuşwww.slideshare.net/michaelasanda