biography
At the age of six, Xu began to study China's classical works and calligraphy with his father Xu, and began to study Chinese painting at the age of nine. 19 15, he moved to Shanghai, where he made a living by business and private work. He went to Tokyo to study art in 19 17. After returning to China, at the invitation of Cai Yuanpei, he began to teach at Peking University Art Institute. From 19 19, Xu studied in Paris, France? National Higher School of Fine Arts, where he studied oil painting and sketch. His travel in western Europe enabled him to observe and imitate western artistic techniques. He returned to China on 1927. From 1927 to 1929, he obtained some positions in some institutions in China, including teaching at the National Central University (now Nanjing University) in the former capital.
In 1933, Xu organized an exhibition of modern China paintings, which was exhibited in France, Germany, Belgium, Italy and the Soviet Union. During World War II, Xu traveled to Southeast Asia and held exhibitions in Singapore and India. All the proceeds from these exhibitions were donated to the people of China who suffered from the war.
After the establishment of People's Republic of China (PRC), a galloping steed, Xu served as the president of the Central Academy of Fine Arts and the chairman of the China Artists Association.
Xu Beihong is a master of oil painting and ink painting. However, most of his works are in the traditional style of China. In the process of trying to create a new national art form, he combined China's pen and ink skills with western perspectives and composition methods. He combines firm and bold brushwork with accurate body description. As an art teacher, he advocates that technology is subordinate to artistic conception and emphasizes the importance of the artist's life experience. Among all contemporary painters, Xu can be said to be the painter who bears the greatest responsibility for the trend of modern art in China. The policies formulated by Xu in the early communist era not only continue to control the government's official policy on art, but also continue to guide the overall direction of art colleges and universities in China.
Xu has received strong support from Asian art collectors. Between 1939 and 194 1, he held solo exhibitions in Singapore, India and Malaya (Penang, Kuala Lumpur and Ipoh) to raise funds for the war relief work in China. Xu and China ink painting master Ren Bonian (Simplified Chinese: Ren Bonian; Pinyin: rènónián) and Qi Baishi (Simplified Chinese: Qi Baishi; Pinyin: Qí Báishí), and 17 1 works of art were displayed in the Victoria Memorial Hall. [2]
During his stay in India, he also met with celebrities such as Rabindranath Tagore and Mahatma Gandhi, and gained inspiration from them, thus creating some iconic works, such as the 4.2 1 meter-wide "Yu Gong Yi Shan Tu" exhibited in Sam. During his stay in Southeast Asia, he also created works such as Poems of the Six Dynasties, Portrait of Lady Jenny, and Put Down Your Whip. Director Sam mentioned that Xu's "The Name" is among the best in Asian modern realistic art, and his contact with all parts of Asia and Europe has opened a new chapter in the artistic exchange and influence of historical narrative, aesthetics and ideas [1].
Xu constantly expanded the boundaries of visual art with new technology and international aesthetics, trying to recreate China art. In fact, Xu's influence surpassed that of China in the early 20th century. Many avant-garde artists in Singapore, such as Lucy, Li Wanfang and Rui, regard him as a mentor and friend, and together with Xu advocate close observation of nature and inject realism into Chinese painting. [3]
One of the two vases is a Malay dancer, believed to have been made in 1940, and was given to Xu's friends, Huang Brothers, who died of a stroke in 1953. After his death, Xu Beihong Museum was established in his home in Beijing.