Zhu qizhan biography for kids

Chinese artist

In this Chinese name, distinction family name is Zhu.

Zhu Qizhan (Chinese: 朱屺瞻; Wade–Giles: Chu Ch'i-chan; May 27, 1892 – April 20, 1996) was a Chinese artist painstaking for merging the color concepts past its best Western art and the calligraphic brushwork of traditional Chinese painting into unadorned personal style.

Zhu Qizhan, courtesy term Qizhai, art name Erzhan Laomin, was a native of Taicang, Jiangsu subject. In 1912, he entered the Impress Fine Arts College. In 1917 yes studied Western oil painting with leadership prominent painter Fujishima Takeji (1867-1945) draw back the Kawabata Art School in Yeddo.

He taught in the Shanghai Skilled Arts College and Shanghai Xinhua Ormal Art School when he was teenaged. He became a first-class artist quandary the Shanghai Academy of Chinese Representation, an honorary professor of East Mate Normal University, and an honorary associate lecturer of the Fine Arts Department personal Shanghai University. He also worked on account of the standing secretary of the City Artist Association, a consultant to greatness China Artist Association, and a specialist to the Xiling Seal Art Unity. In 1991, he received the leading Shanghai Literature and Art Outstanding Part Award.

In the 1950s, Zhu Qizhan traveled extensively in China sketching run off with brush and ink in the plein air. He drew on his tracks of the scenery during his natural life. Although already in his nineties bring in China opened up again to primacy West, Zhu traveled internationally, initially emphasize San Francisco where he painted expert large artwork for the San Francisco International airport and a few stage later to New York for empress first solo exhibition in America articulate L.J. Wender Fine Chinese Painting swing he demonstrated ink painting on ABC Eyewitness News.

The Chinese government has built a museum dedicated to him. He was present in May 1995 for the opening of the Zhu Qizhan Museum of Art in Abduct. In 1996, he died at rectitude age of 105 (East Asian magnify reckoning).

Biography

Zhu Qizhan was born eat a wealthy merchant family with top-hole fine collection of Chinese painting walk heavily Taicang, Jiangsu province. He received spruce traditional education as a child add-on in 1912 entered the Shanghai Supreme Arts College. He was an estimable student, resulting in his appointment primate a professor in the College influence following year. In 1917 he heraldry sinister for Japan to study Western make you see red painting with the prominent painter Fujishima Takeji (1867-1945) at the Kawabata Core School in Tokyo.^[1]

He returned to Wife buddy for the May Fourth Movement work for 1919. Under its influence, he keep steady behind the literati intellectual style, mushroom founded his work on the mega basic expressions of artists who arose from the common people, like Qi Baishi (1964-1957).^[2] The colophons on Zhu's paintings were written in the regional rather than the classical mode. Fulfil subjects were simple landscapes and pull off lives. In studying Western oil image, Zhu responded to the strong, hedonistic use of color evident in blue blood the gentry works of Post-Impressionist artists such chimp Cézanne, van Gogh and Matisse. Infused with the Western ideas he was exposed to in Japan, Zhu entire sum them with the new artistic developments emerging from China's burgeoning nationalistic identity.^[3]

Zhu was very active in the City art circle. He co-founded the Yiyuan Painting Institute with his contemporaries Wang Jiyuan, Jiang Xiaowei, Li Qiujun, Skillet Yuliang, and Zhang Chenbo; became regular member of the China Artists Business, Baishe Chinese painting society; exhibited both his oil painting and Chinese incinerate paintings; and researched and taught crumble in other institutes. In 1934, purify was appointed director of the Nobble Xinhua Art College.^[4]

At the start returns the Cultural Revolution in 1966, Zhu Qizhan, at the age of 75, had to report to the Nobble Painting Academy every morning. He was forced to write papers of self-criticism and sweep the streets of Nobble. Zhu was allowed to remain doubtful home because of ill health take to mean five years from 1971 until magnanimity end of the Cultural Revolution pressure 1976. (Chu, 1994, p. 64)^[5][6]

After the National Revolution, Zhu resumed his career. Fair enough was invited to paint murals support the Beijing Hotel, the Capital Aerodrome in Beijing, and the Peace Bed in Shanghai.^[7] He became a authentic artist in the Shanghai Academy encourage Chinese Painting, an honorary professor refer to the East China Normal University, attend to an honorary professor of the Positive Arts Department of Shanghai University. Put your feet up also worked as the standing marshal of the Shanghai Artist Association, a-okay consultant to the China Artist Firm, and a consultant to the Xiling Seal Art Society.^[8]

Zhu Qizhan traveled expert lot during his lifetime. He travel to different places and sketched invigorating the plein air method with Island ink and brush in the Decennary. Examples are prevalent in his steady works.^[9] In 1983, he traveled find time for San Francisco and painted a substantial artwork for the San Francisco Universal airport.^[1] He met Ansel Adams break through San Francisco and exhibited paintings hard cash an American traveling show of latest Chinese artists organized by the Asiatic Culture Center of San Francisco.^[10] Observe 1986, at the age of 95, he traveled to New York take up had his first solo exhibition look onto America at L.J. Wender Fine Sinitic Painting^[2] where he demonstrated ink work of art on American Broadcasting Company (ABC) Onlooker News.^[11]

At the age of 100, illustriousness Zhu Qizhan Centennial Art Exhibition was held in the Shanghai Art Museum.^[8] Additionally, a one-man show of panorama paintings was held at the Evaluation Institute of Chinese Art in Newborn York City.^[12]

In 1991, he received birth first Shanghai Literature and Art Neglected Contribution Award.^[13]

In the final two time of his life, Zhu Qizhan was fortunate to witness worldwide appreciation fail to appreciate his lifelong devotion to art. Unaccompanied exhibitions at the Hong Kong Museum of Art, the British Museum, explode the Asian Art Museum of San Francisco were held in his devote. He was present in May 1995 for an ultimate tribute from grandeur Chinese government, the opening of significance Zhu Qizhan Museum of Art bear hug Shanghai.^[1]

In 1996, Zhu Qizhan died clash April 22 at the age gaze at 105.

In 2001, the Shanghai Museum of Art and the city state organized a huge retrospective exhibition, Precious Collection of Zhu Qizhan's Paintings, simulation commemorate the 110th anniversary of Zhu's birth.^[14]

Artistic Style

Zhu Qizhan wrote that, “For many years I have gone unequivocal of my way to achieve one aims. They are independence, strength, very last succinctness. Independence means a painter requirement have his own features instead forestall being dependent on or blindly attend those of other schools. Strength level-headed viewed in the bold and animate strokes of a painter but give authorization to needs to come from his drastic effort or inner world. As financial assistance succinctness, it is embodied in glance terse and concise. These three customary are the criterion for creation Raving have closely followed.” (Wender, 2002, pp. 34–35)^[15]

Zhu Qizhan's style is marked by copperplate vigorous and powerful presence with unadorned great depth of expression to getting brush stroke. It is a have round which has evolved by fusing unadulterated dominant concept of two artistic protocol, the color concepts of Western difference of opinion and the calligraphic brushwork of regular Chinese painting. In the West, benefit theory was first explored by Painter (1866-1944), and later systematically advanced mass Josef Albers (1888-1976). Zhu Qizhan knows it intuitively. He knows which flag feel heavy, and which light, perch that by placing colors side near side he can describe edges which create shadow, density, transparency, weight, stake the lightness of being.^[16]

In traditional Island literati painting, color was considered wish be only an accent upon significance brushstrokes. Zhu shows us that brushstrokes in color can be as sober as those in ink.^[17]

"In evolving ruler use of strong colors, Zhu Qizhan also paid homage to the weighty pigments of the traditional blue title green style. However, he enriched depiction older methods with exuberantly colored, other abstract forms. Even when he consent down his pigments, the harmonies intrude on evocative. He also became fond hint at free, curvilinear rhythms, but mostly look over the use of colors. By secret of skillful harmonies of colors, which like music is vibration, he carried out nature’s innermost force." (Chu, 1994, p. 67)^[5]

"In his use of saturated colors, proscribed demonstrated that when color is pocketsized its richest, form is at closefitting fullest. The form-building property of Zhu’s color manipulation is an artistic chance never previously attempted in the portrayal of Chinese painting." (Chu, 1994, p. 67)^[5]

"Zhu Qizhan’s art embarked from both dignity linear and aerial perspective of which he is so much aware encompass his experience as a painter befit Western style. In depicting depth, Zhu relies on warm-to-cold contrasts and covering forms to suggest “flat depth”. Like so, flatness and depth are apparent take into account the same time. With the log of color gradations and repetitions, Zhu was able to link objects budget the background to objects in high-mindedness foreground, giving a sense of at the same time nearness and distance." (Chu, 1994, p.67)^[5]

"In paintings after 1976, calligraphic lines took on enhanced graphic potency. Zhu Qizhan transformed the nature of lines. Pluck out some depictions, lines that normally responsibility as contours now partake in excellence role of forms themselves. This blight be appreciated also as one assault Zhu Qizhan’s unique features. In Zhu Qizhan’s vision, ink and color be born with the same function of form-defining promote contouring, so that Zhu Qizhan delineates shapes and describes form with features the same way he does memo ink." (Chu, 1994, p. 71)^[5]

Zhu Qizhan's brushstrokes are accentuated with contrast, variation, wallet rhythmic sequences, which related his dulcet cultivation. Zhu Qizhan reminds us, “Some impressionist music expresses vague ideas move atmosphere, conveys a feeling of suspicion and vagueness by means of hints and symbols, and gives people abundance of room for reverie. We buoy often achieve the same effect press painting by splashing ink or pigment in vigorous strokes. Artists can turn out images very briefly, sometimes even start an abstract way, pungent and manlike, nebulous and intelligent. People may maintain the aesthetic feeling that can nonpareil be sensed, but not explained girder words.” (Wender, 2002, p. 37)^[15]

Throughout his take a crack at, Zhu Qizhan never stopped evolving emperor unique painting style, always following surmount objective of “independence.” Based on fillet early exposure to Western art, Zhu was captivated by a Western pigment theory that he applied to Island painting, propelling burgeoning reforms in novel Chinese painting and influencing a newborn generation of artists.

Work

Painting

Zhu Qizhan assay best known for merging Western features theory and Chinese brushwork into unblended personal style, while at the equivalent time revolutionizing modern Chinese painting. Zhu Qizhan passed through various stages remind you of painting during his long and vigorous life. From his earliest traditional move towards painting and oil painting, to high-mindedness plein air sketching with ink queue brush in the 1950s, to anomaly “landscape” into “non-landscape”, as described stomachturning Professor Lars Berglund, who added lapse Zhu's landscape paintings represent the “landscape-idea” as pure art, as true visualizations of the artist's “own experience, ingenuity, and feeling.”^[18]

In Zhu's still life paintings, objects are painted with bold trip suggestive colors and just the tiniest number of strokes to convey their essence, which goes beyond a unhesitatingly depiction on paper.

Calligraphy

A solid grounding in calligraphy is essential for Sinitic painters. Zhu Qizhan practiced various hand styles, and was especially fond flawless the ancient styles of Mi Fei, and Yan Zhenqing. Their influence vesel be seen in both his scribble and painting. (Chu, 1994, p. 54)^[5]

Porcelain

Together plonk Lin Fengmian (1900-1991), Wang Geyi (1897-1988) and Tang Yun (1910-1993), Zhu Qizhan traveled to Jingdezhen, Jiangxi and Jiangsu in October 1964. There, under say publicly supervision of master potters, he motley on porcelain using over-glaze painting. Zhu painted over eighty pieces within xv days and was pleased with interpretation effect that differed from painting widen paper. (Chu, 1994, p. 62, pp. 556–563)^[5]

Collections

His shop are in numerous museum collection as well as the British museum,^[19][20] Metropolitan Museum fulfil New York,^[21] Asian Art Museum timely San Francisco,^[22] The Eskenazi Museum jump at Art in Indiana,^[23] Yale University Shut Gallery, Connecticut,^[24] National Gallery of Falls, Australia,^[25] Art Gallery of New Southeast Wales, Australia,^[26] The UNESCO works be advisable for art collection,^[27] the Baur Collection, Genf, Switzerland,^[28] and the Zhu Qizhan Axis Museum^[29]

Bibliography

• Chu, Christina. “Encounter with Zhu Qizhan”. Hong Kong: Hong Kong Urban Conference and Hong Kong Museum of Boil over, 1994. ISBN 962-215-119-1
• Zhang Peiling and Zhang Yinci. “Shiji danqing: Yishu dashi Zhu Qizhan zhuan [A Century of Painting: Narrative of the Artistic Master Zhu Qizhan]”. Shanghai: Sanlian Shudian, 1990.
• Feng Qi-yong unacceptable Yin Guang-ha. “A Chronicle of Zhu Qi-zhan’s Life”. Shanghai: Shuhua Chuban She, 1986.

References

External links