Expressionism originated from France, and it was prospered in Germany by Bauhaus artists beyond the First World War.
China underwent a process of emancipation from the feudalistic institutional norms of royal court painting after the downfall of Qing Regime. Wu Dayu was the first-ever Chinese painter who fostered apprentices with keen interests in Expressionism. Later, some Hong Kong artists, like Luis Chan, also created narrative paintings through using coloured ink to paint on Chinese xuanzhi paper. Expressionism is regarded as an important criteria for examining whether a painter can transform to be a prominent artist or not.
3. George Grosz(左)和Max Beckmann(右)
兩位Bauhaus系友藝術大師,對英法俄聯手幫助
暗殺奧匈皇儲的塞爾維亞乃沒有公義,認為德國
幫助奧匈出氣乃天經地義但卻換來承受苛刻的戰
敗罪責,是對德國人很大的侮辱,所以他倆創作
了一些嬉笑怒罵且扭曲人形的敘事性油畫,意圖
瓦解敵國法國以印象派壟斷歐洲藝壇的霸權。
左:“Pillars
of Society”
by George
Grosz
(1926)
右:“Dance
of the Cut-
throat” by
Max
Beckmann
(1938)
48. 「基弗在中國」畫展最終難產,令北京中央美術學院顏面盡羞,並牽起中西
策展思維模式的國際及網民論爭,基弗發聲明譴責中方的內容如下:
『 I would like to make clear that I was not consulted about the planned exhibition
of my work, Anselm Kiefer in China, and am deeply disappointed that it is taking
place without my involvement or consent.
Throughout my career I have been heavily involved in all my major international
exhibitions and it is a matter of deep regret and frustration that the organisers
of my first show in China have seen fit to exclude me from this process.
Furthermore, it would seem that the organisers have misrepresented my position
suggesting that I am endorsing this project. I do not and have written to the
organisers to make my position clear and to request that the exhibition is
cancelled.
The Chinese audience is an important one to me and I very much hope that I might
develop a major survey of my work in China at some point in the future.
In the meantime I cannot support this exhibition in any way and will most certainly
not be in attendance.』
53. Stephanie Barron and Wolf-Dieter Dube, “German Expressionism: Art And Society”, 1st Edition Bompiani
September 1997, Rizzoli International Publications Incorporations, New York
Allan C. Greenberg, “Artists and Revolution: Dada and the Bauhaus, 1917-1925”, 1st Edition, 1979, Michigan,
University Microfilms International Research Press
Hans Belting, “The Germans And Their Art – A Troublesome Relationship”, Translated Edition by Scott Kleager,
1998, New Haven and London, Yale University Press
Christos M. Joachimides, Norman Rosenthal and Wieland Schmied, “German Art in the 20th Century – Painting
and Sculpture 1905-1985”, 1st Edition, 1985, London, Prestel-Verlag, Munich and Royal Academy of Arts
Matthias Eberle, “World War I And The Weimar Artists – Dix, Grosz, Beckmann, Schlemmer”, Translated
version by John Gabriel, 1985, New Haven and London, Yales University Press
Jonathan Petropoulos, “The Faustian Bargain – The Art World in Nazi Germany”, 1st Edition, 2000, Oxford
University Press
Eckhart Gillen, “German Art from Beckmann to Richter”, English Translated Edition by Anita Brokmann, Alan
Fear and Claudia von der Heydt, 1997, DuMont & Yales University Press
Jack Sai-chong Lee (pp.6-13 only), Luis Chan and Chinese Art - The World of Luis Chan, an exhibition presented
by Shanghai Art Museum & Shanghai International Culture Association, collaborated by Hanart TZ Gallery and
Luis Chan Family”, 2012, Hong Kong, Hanart TZ Gallery
Jack Sai-chong Lee (pp.168-71 only),“A Study of the Development of Oil Paintings in Early Hong Kong”(香港早
期油畫發展之初探), 2010 Traveling Exhibition of Oil Painting – Guangzhou, Hong Kong and Macau”, 2012,
Hong Kong, Inspiration Art Press