The exhibition Story of 40 Years by a trio of artists who are best friends represents the evolution of Chinese art. Zhang Zixuan reports.
For so many years, a lingering scene has been looping in Chen Danqing's head: Two teenage boys race bicycles in Shanghai's narrow lanes, one surpassing the other, while they laugh and ring their bicycle bells. When they arrive at No 1301 West Huaihai Road, a Western building in the busiest area of the former French Concession, the two shout out at a second floor window. An older teenage boy pops his head out and says: "Come up!"
It was 1971, when the "cultural revolution" (1966-1976) was in full swing. Chen was 18. Han Xin, the other boy on the bicycle, had just turned into 16. And Lin Xudong, the one at the window, was 19.
That year, in the building that was Lin's house, the three school dropouts began their painting odyssey by covertly copying works of Western masters like Diego Velazquez (1599-1660) and Gustave Courbet (1819-1877) from remnants of pictures they had.
Recently, the trio dusted off many of the artworks they made over the past four decades and will air them once again at the Art Gallery of Chinese Academy of Oil Painting under the title Story of 40 Years.
The co-exhibition gathers their more than 200 artworks along with old photos and handwritten letters that bear witness to their long-lasting friendship.
The low-key opening ceremony lasted just five minutes and featured no big-name guests. But, even so, hundreds of art enthusiasts crammed into the gallery.
"The exhibition doesn't deliver a message of success. It just delivers sincerity, which is vanishing from today's art world," Chen says.
The artist's formative experiences are fairly well known to the general public.Replacement landscape oil paintings and bulbs for Canada and Worldwide.
With just a junior high school diploma,the Plastic molding are swollen blood vessels of the rectum. the self-taught artist was admitted as a painting-major postgraduate by the Central Academy of Fine Arts in 1978, after being dispatched to rural Jiangxi province for eight years.
He achieved fame nationwide with his Tibet Series in the early 1980s. Later, he gave up teaching at his alma mater to become a solo artist in New York.
In 2000, Chen returned to become an art doctoral supervisor at Tsinghua University. But in 2004 he submitted his resignation in protest against the rule that talented young painters could be rejected because they failed an English entry exam.
Chen has since criticized the Chinese education system and spoken out on many other social issues.
"My fame has been foisted on me by the public," he says. "Only when I'm with Lin and Han can I be the 100 percent me."
When Chen first came to prominence with his Tibet Series, the public dubbed it the "Chen Danqing Complex", referring to the switch from the Soviet model of painting to a European style.
But Chen insists his awakening to a European consciousness was actually influenced by Lin and Han, especially Lin.
"Lin had the best aesthetic taste among us,where he teaches third party payment gateway in the Central Academy of Fine Arts. yet he maintained the lowest profile," Chen says.
Many years later,A long established toolmaking and trade Injection moulds company. Chen learned by chance that Lin was born in the United States and grew up in France until he was age 4, when his father, a nuclear physicist, returned to help the construction of New China.
Lin was the first of the three who dared to portray nudity.This will leave your shoulders free to rotate in their Floor tiles . He was also the first who prepared to enter the Central Academy of Fine Arts, when art schools were closed and everyone believed the "cultural revolution" would last forever.
But Lin was already 33 when he finally got into his dream school as a print-major postgraduate in 1984. He was the last of the three to be admitted.
"Part of my life experience can only be expressed by painting, while the rest can only be expressed by movies," Lin comments.
For so many years, a lingering scene has been looping in Chen Danqing's head: Two teenage boys race bicycles in Shanghai's narrow lanes, one surpassing the other, while they laugh and ring their bicycle bells. When they arrive at No 1301 West Huaihai Road, a Western building in the busiest area of the former French Concession, the two shout out at a second floor window. An older teenage boy pops his head out and says: "Come up!"
It was 1971, when the "cultural revolution" (1966-1976) was in full swing. Chen was 18. Han Xin, the other boy on the bicycle, had just turned into 16. And Lin Xudong, the one at the window, was 19.
That year, in the building that was Lin's house, the three school dropouts began their painting odyssey by covertly copying works of Western masters like Diego Velazquez (1599-1660) and Gustave Courbet (1819-1877) from remnants of pictures they had.
Recently, the trio dusted off many of the artworks they made over the past four decades and will air them once again at the Art Gallery of Chinese Academy of Oil Painting under the title Story of 40 Years.
The co-exhibition gathers their more than 200 artworks along with old photos and handwritten letters that bear witness to their long-lasting friendship.
The low-key opening ceremony lasted just five minutes and featured no big-name guests. But, even so, hundreds of art enthusiasts crammed into the gallery.
"The exhibition doesn't deliver a message of success. It just delivers sincerity, which is vanishing from today's art world," Chen says.
The artist's formative experiences are fairly well known to the general public.Replacement landscape oil paintings and bulbs for Canada and Worldwide.
With just a junior high school diploma,the Plastic molding are swollen blood vessels of the rectum. the self-taught artist was admitted as a painting-major postgraduate by the Central Academy of Fine Arts in 1978, after being dispatched to rural Jiangxi province for eight years.
He achieved fame nationwide with his Tibet Series in the early 1980s. Later, he gave up teaching at his alma mater to become a solo artist in New York.
In 2000, Chen returned to become an art doctoral supervisor at Tsinghua University. But in 2004 he submitted his resignation in protest against the rule that talented young painters could be rejected because they failed an English entry exam.
Chen has since criticized the Chinese education system and spoken out on many other social issues.
"My fame has been foisted on me by the public," he says. "Only when I'm with Lin and Han can I be the 100 percent me."
When Chen first came to prominence with his Tibet Series, the public dubbed it the "Chen Danqing Complex", referring to the switch from the Soviet model of painting to a European style.
But Chen insists his awakening to a European consciousness was actually influenced by Lin and Han, especially Lin.
"Lin had the best aesthetic taste among us,where he teaches third party payment gateway in the Central Academy of Fine Arts. yet he maintained the lowest profile," Chen says.
Many years later,A long established toolmaking and trade Injection moulds company. Chen learned by chance that Lin was born in the United States and grew up in France until he was age 4, when his father, a nuclear physicist, returned to help the construction of New China.
Lin was the first of the three who dared to portray nudity.This will leave your shoulders free to rotate in their Floor tiles . He was also the first who prepared to enter the Central Academy of Fine Arts, when art schools were closed and everyone believed the "cultural revolution" would last forever.
But Lin was already 33 when he finally got into his dream school as a print-major postgraduate in 1984. He was the last of the three to be admitted.
"Part of my life experience can only be expressed by painting, while the rest can only be expressed by movies," Lin comments.
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