Huangzhou style?

The importance of Huang Zhou (1925- 1997) in artistic creation is self-evident. Sketch is the most important in Huang Zhou's painting art, which can be said to be his artistic life. Without Huang Zhou's sketches, there may be no Huang Zhou's Chinese painting art. As early as Huang Zhou's youth, Huang Zhou drew many sketches, and all parts of the northwest were the source of his life and creation. /kloc-0 went to Xinjiang, Guangxi, Yunnan, Fujian and other border areas and Jinggangshan in the 1950s, and/kloc-0 went to the troops along the Jinsha River to exercise and sketch in the 1960s, and published several sketches. Huang Zhou's sketches are huge, and there are a large basket of sketches burned during the Cultural Revolution, with tens of thousands of works. Whether painting people or animals, his sketches are accurate and vivid, and he can capture many delicate plots, which can be described as both form and spirit. Deliberately using lines to describe objects and auxiliary blocks is bold, powerful and lifelike, and many sketches are independent works of art themselves. As early as 1950s, the Central Academy of Fine Arts and Zhejiang Academy of Fine Arts had held Huangzhou Sketch Exhibition, which aroused the interest and concern of teachers and students. Huang Zhou often paints directly with a brush. He said, "One pen won't do. Draw another." So he didn't avoid repeating strokes in his works. On the contrary, many works have become rich and dynamic because of the appearance of complex strokes, forming a special aesthetic experience of lines and Huang Zhou's own painting style. Huangzhou can't afford to sketch, but when he draws a big picture, he only agrees on the position, that is, splashing ink, all thanks to his realistic kung fu. Huang Zhou is not rewriting everywhere, such as the facial depiction of characters, and his paintings are accurate and certain, which fully shows that rewriting is not helpless, but a special form found in a lot of sketching practice. Huangzhou's calligraphy is also unrestrained, and the strokes are obviously frustrated, especially Huangzhou's calligraphy, with warm, exaggerated and passionate lines. It can be seen that it is the same attribute as sketch and painting, and it is a high degree of artistic unity.