Who are the female oil painters in the 20th century?

This paper focuses on five female artists whose talents are no less than those of contemporary male artists and their historical contributions.

1. Fang Junbi, the female painter who holds the most exhibitions.

Fang Junbi (1898— 1986) was born in Fuzhou. When she was young, she went to France with her family, first to julien Academy of Fine Arts, and then to Paris National Academy of Fine Arts, becoming the first female student in China. 1924, her works were selected for the Paris Salon Exhibition, and she was praised as "the outstanding female painter in the East", from which her long and colorful artistic career began.

Because of her superior family background, Fang Junbi studied abroad earlier, so her artistic career had little to do with the New Culture Movement in China at that time. 1925, she returned to China to teach, but a year later she returned to France, and then entered the National Academy of Fine Arts in Paris, where she continued to study in Bonaire Studio for two years. 1936, Fang Junbi returned to China again. In addition to specializing in oil painting, he also devoted himself to studying Chinese painting. In artistic practice, he explored the road to the integration of Chinese and western arts long before Xu Beihong and Lin Fengmian, and tried to integrate the principles of anatomy and perspective of western painting into Chinese painting to correct various unscientific laws of Chinese painting and show his persistence in artistic pursuit.

Among the painters of the same period in history, Fang Junbi exhibited the most paintings. She has held exhibitions in Beijing, Shanghai, Nanjing, Guangzhou, Hong Kong, Singapore, Malaysia, Thailand, Britain, France, Brazil, Argentina and Japan. 1974 In order to pay tribute to this famous successor who devoted herself to the artistic career, the Paris Oriental Art Museum specially held a "60-year retrospective exhibition of Fang Junbi's art" for her, showing her great artistic achievements.

1949 After her husband was killed by the Kuomintang, Fang Junbi left the motherland again, went overseas, and finally settled in the United States, painting all his life.

2. The jealous genius-William Tsai

William Cai (1904- 1940) is the daughter of Cai Yuanpei, an advocate of the New Culture Movement in China. 19 15 (when she was nine years old) went to Europe for the first time, and then went to Europe for the second time. Graduated from the National Academy of Fine Arts in Lyon, France, 1928 was sent back to Hangzhou. Her portrait was "a blockbuster" in the first national art exhibition in 1929. During her teaching, she often gave demonstrations to her classmates in person, which was respected and loved by her classmates, and made great contributions to the cultivation of western painters in China. Among her students were Zhao Wuji, Zhu Dequn and Wu Guanzhong, who later became famous.

The combination of William Tsai and Lin, a theoretical professor at Hangzhou Art College, was once a much-told story in China cultural circles. Unfortunately, she contracted mattress fever during childbirth in Yunnan and died young. 1939 When she died, a friend of hers said, "I really devoted myself to art there, struggled with myself, corrected my weaknesses and discovered a new world. There are not many people like Ms. Cai William, but in the end, I was knocked down by poverty and finally died. It is still painful and chilling to think about it. " Due to his untimely death, William Tsai left few works. Among them, the giant portrait "Qiu Jin is Dead" is the first painting depicting the heroine Qiu Jin in the history of China painting, and it also shows a female painter's publicity of the value of "woman" as a national hero. In addition, there are famous portraits, such as Sun Yat-sen, architect Liu Bipiao, and Lin.

Cai William's painting style is simple and general, with the style of early modernism in Europe, and influenced by post-impressionism, especially Cezanne's painting style, with bold pen, simple and general modeling and a sense of sculpture. Cai William had a strong consciousness of reflecting and expressing the theme of women, which was unique at that time.

3. Good family-Guan

Guan (1903— 1986), a native of Nanhai, Guangdong Province, 1927 graduated from the western painting department of China Art University in Shanghai, and studied under the teacher of early oil painters in Shanghai. Guan is a professional oil painter who was greatly influenced by Fauvism in China's early days, and he is a romantic school in the modern sense. Immediately after graduation, I went to Japan to study abroad and got a deep understanding of Fauvism painting. Her works are beautiful, gorgeous and bold, always revealing strength and grandeur, with modernist tendencies, which are highly praised by Japanese oil painting circles and called "China's aristocratic female oil painter" by overseas oil painting circles.

1929 Her work "Girl" shows her bold pursuit in art. The picture composition is steady and dynamic, the lines are bright and tonal, the characters are concise, the pen is sophisticated, the color blocks are bright, decisive and bright, which is really very different from the "freehand painting" of most oil painters in China at that time. This kind of oil painting is often dark or dark brown, which is the so-called "soy sauce tone", especially in the paintability, color and surface texture of oil painting and the use of pens, which has a certain gap with advanced techniques. Jin Ye, who later became an art critic, commented at that time: "The colors are rich without distinguishing the outline, and the image is completely expressed by consciousness. Therefore, Ms. Guan's painting style is only a very simple form, that is, beautiful and elegant, generous and fresh, and her pen is very strange, which is a modern romantic school. The real content is far from what we asked for, but she is a bright light in the distance. " Another of her works, The Girl with a Fan, is similar. The girl in the picture is dignified, smart, calm and quiet, with eyes like autumn water and lips like cherries, and a simple folding fan in her hand, reflecting purity and elegance; The picture composition is full of atmosphere, the lines are round, simple, free and easy, elegant, and the rich and strong color contrast tends to be coordinated in subtle purity and harmony, but it is calm in richness; The background is full of decorative cloth patterns with the flavor of the times, dotted with the last romance of a girl's picturesque dream. In the 1940s, Chen also commented in Contemporary China Oil Paintings: "She does have jewel-like colors, velvet-like pictures and lively brushwork like a bird, but the tension and magnificence peculiar to men in her paintings have long existed. Looking at her recent works, landscapes and some flowers, it is obvious that she has given up deformation and exaggeration and turned to realism.

It's a pity that she doesn't paint much, but from her limited paintings, we can still see that compared with other early oil painters in China, her character works are particularly simple and clear, and her grasp of characters is very keen. In the thirties, people's works still won with quiet and gorgeous temperament, but in the forties, people's paintings were more elegant and quiet.

Guan is not only a representative figure of female painters in the last century, but also plays an irreplaceable role in the new painting movement in the past century.

Avant-garde woman-Qiu Di

Qiu Di (1906— 1958) was originally named Qiu Bizhen and was born in a merchant family. When she was a girl, she showed unusual personality and insight. When she was a young girl in Fuzhou Women's Normal School, she showed the characteristics of a new woman, took the lead in cutting short hair, and used the summer vacation to mobilize housewives to learn culture and organize cram schools. 65438-0928 After graduating from the Western Painting Department of Shanghai Academy of Fine Arts, he went to Japan with his brother and was deeply influenced by Impressionism.

Her husband, Pang Xunqin, was also an early oil painter in China. Together with another painter and sculptor, Wang Jiyuan, he founded the studio "Juelan Society" on 1932. 1933 10 "Juelan Society" held its second exhibition, and Qiu Di's work "Flowers" won the "Juelan Society Award", which was the only award-winning activity in the four exhibitions of Juelan Society, and invited celebrities from the cultural and educational circles at that time to present awards. This award made Qiudi famous, but there was some controversy, starting with the picture of this painting: in front of a flat painted background, a light-colored square symbolized the desktop, with batik embroidered cloth on it, which was also completely flat. A pot of plants in the picture has red leaves and green flowers. So it attracted some people's dissatisfaction that red leaves and green flowers violated the laws of nature. In fact, this work "Autumn Flute" is very mature and sophisticated in terms of composition, conception and color. There is a subtle imbalance in the symmetry of her composition. The plane painting of the background and the texture treatment of the main objects with brush strokes have obviously absorbed the folk interest of modern western painting techniques and batik prints, and the relationship between plants and the background has given this painting a concise and meaningful picture of the times. In addition, this painting also shows the artist's creative talent. This talent lies in that all kinds of different things, whether techniques or ideas, can be combined in a measured way, and the proportion of each part, whether it is point, line, surface, color or various image interests, can be mixed together to form a simple and good painting. The ambiguous relationship among objects, space and air in Qiudi's oil paintings can only be seen by female oil painters in China.

It's a pity that almost none of her works stayed. A large number of her works were destroyed during the Anti-Japanese War and the Cultural Revolution, leaving only more than 20 pieces. But for a truly talented painter, dozens of works can fully show us her artistic light.

Verb (abbreviation of verb) legendary woman-Pan Yuliang

Among the early female oil painters in China, Pan (1895- 1977) kept the most paintings, with more than 2,000 main works. If sketches and drafts are added, her works can reach more than 4,000. Pan, formerly known as Pan, was forced to become a brothel after his parents died in his early years. 65,438+08 years old, rehabilitated. Later, with the encouragement of Chen Duxiu and Liu Haisu, he began to learn painting and was admitted to Shanghai Academy of Fine Arts with a high score of 19 18. 192 1, she was admitted to the Sino-French University in Lyon, France. After graduation, he was admitted to the National Academy of Fine Arts in Paris and studied with Xu Beihong under the French academic painters Simon and Dayang. 1925 After finishing his studies, he studied painting for one year and sculpture for two years at the National Academy of Art in Rome. During her study period, domestic warlords were in melee, and public funding for international students was often not available. She is a strong person, unwilling to ask for money, so that she is malnourished and almost blind. This shows her strong personality and pursuit of life value.

The art circles at home and abroad spoke highly of Pan's art. During the period after returning to China from 65438 to 0929, her oil paintings were full of vitality, rich in colors, bold and vigorous with her pen, and she was known as "the first impression school in China". Her early work Song of Spring absorbed the light and color changes of impressionism, and expressed the realm of beauty contained in life in a natural lyrical style. The supine female body is simple in shape and sweet and quiet in artistic conception. 1940, the picture is bright, and the yellow-green background contrasts with the big red flowers that extend from the left to the picture. The people in the picture are all wearing China cheongsam, with their heads slightly tilted and their eyes elegant but slightly melancholy. When she created this painting, she left the motherland with a feeling of sadness and despair. It can be seen that the painting contains her faint yearning for her loved ones and a helpless loneliness. Besides taking selfies, she also likes still life, combining still life creation with memory. From the white chrysanthemums and the recurring chrysanthemums, cloves and roses in thread-bound books, as well as poker, thread-bound books and pipes, we can see that these are all memories of her old life. From the articles she left behind, we know that she endowed chrysanthemum, especially white chrysanthemum, with special personality significance, and often compared it to her innocence and her ambition not to go with the gone with the times. Memories of life details and ups and downs of mood and thoughts express Pan's expression of her life as a special woman.

Later, she integrated the lines of Chinese painting into oil painting, giving her works an oriental charm. At that time, Mike, a professor at Oxford University in England who specializes in modern art in China? Su thinks: "Pan is an outstanding representative among the few painters in China who can integrate Chinese and Western arts". In addition, what is more noteworthy is her performance of women's body and mind as a female painter. Her impressionist techniques and traditional Chinese painting line drawing techniques all serve her female feelings and feelings. Pan painted a large number of female bodies, most of which were shaped by herself. The most distinctive is the figure painting composed of line drawing. When watching Catwoman, Flower Scarf Woman's Body and Woman's Body, Pan Xian drew an elegant and quiet female nude with delicate and smooth lines, and then touched the structure and texture of the human body with light colors. The background part uses stippling and staggered short lines to create a sense of hierarchy, showing a kind of aesthetic interest that is beautiful, elegant, three-dimensional and full of originality and individuality. Pan not only contributed to the integration of Chinese and western arts in techniques, but also found that the shapes of human bodies she painted were models for early female painters to express their feelings and life with their own bodies. Pan Yuliang was still keen on writing in his later years. In the middle and late 1950s, she created many oil paintings with the theme of China folk women's activities, such as Double Sleeve Dance and Double Fan Dance. At first glance, these paintings are characterized by Matisse's use of large solid colors. In the complicated colors of western painting, the lines of Chinese painting are blended, which contains China's artistic conception, rhythm and poetry. The composition is bold and exaggerated, the picture is bold and profound, the color is gorgeous and quiet, and the sense of rhythm is strong, giving people a beautiful enjoyment.

Throughout Pan's artistic career, we can clearly see that her painting art was born and developed in the constant collision and integration of Chinese and Western cultures. This is exactly in line with her artistic thoughts of "combining Chinese and western culture into one" and "begging me from the ancients and not forgetting me from the ancients". In this regard, Mr. Ye Saifu, a French oriental art researcher, made a very accurate evaluation: "Her works combine the strengths of Chinese and Western paintings and give her her her own personality. Her sketches have the brushwork of China's calligraphy, depicting the femininity and freedom of entities with vivid lines, which is Mrs. Pan's style. Her oil painting contains China's ink painting techniques, and uses elegant colors to touch and dye the picture. The depth and density of color are interdependent with lines, which naturally reveals the distance, light and shade, reality and falsehood. She used China's calligraphy and brushwork to describe everything and made rich contributions to modern art. "

The talents of these female painters who lived in the early 20th century are world-famous and unique. They have made great contributions to the development of China's oil paintings. China's painting history will remember them, and so will the world's painting history. Their few works are artistic treasures worth cherishing.