Since its establishment, the Art Museum has held many large and important exhibitions. For example, cross-strait exhibitions of famous Chinese paintings, Li Keran Heritage Exhibition, Ren Bonian Exhibition, Yangzhou Eight Eccentric Artists Exhibition, and contemporary painters' exhibitions, Wu Changshuo's, Huang's, Qi Baishi's and Pan Tianshou's exhibitions, Dong Qichang Art Exhibition, Gu Mu's donation of white eyebrow painting exhibition, China folk collection Japanese painting appreciation exhibition, and commemoration of War of Resistance against Japanese Aggression's victory. China Comic Exhibition, Mr. Wang's Legacy Exhibition, Ryan Painting and Calligraphy Exhibition, '97 China Painting Exhibition, the 3rd Contemporary China Landscape Painting Exhibition, Huangzhou Art Exhibition, Ancient and Modern Painting and Calligraphy Exhibition, the 4th National Watercolor Gouache Exhibition and the 14th National Printmaking Exhibition.
While holding exhibitions, the art museum also conducts various art seminars and academic exchanges. Famous scientists and Mr. Huang Zhou co-hosted the' 93 Symposium on Science and Art, the' 95 Symposium on Economy and Culture hosted by Yuan, Yuan and Huang Zhou, and the "Symposium on Huang Zhou Art" held to commemorate the first anniversary of Huang Zhou's death, which had great influence. Wu Changshuo is best at freehand brushwork flowers, and is greatly influenced by Xu Wei and Badashan people. Because of its profound knowledge of calligraphy and seal cutting, it integrates calligraphy and seal cutting, knife cutting, composition and posture into painting, forming a unique painting style full of golden stone flavor. He himself said, "The strength of my life is that I can draw by writing." He often writes Mei Lan with a brush and grapes with weeds. The flowers and trees and flower stones we made are bold in brushwork, transparent in paper back, unrestrained in vertical and horizontal directions, magnificent in layout, almost sketchy in composition, preferring to adopt the pattern of "zhi" and "female", or oblique, combining reality with reality, with prominent themes. I like Zhao's colors. I like to use rich and contrasting colors, especially western red, strong and bright colors. Ren Bonian, a famous painter at that time, marveled at Wu Changshuo's painting with Shi Guwen's seal cutting, and predicted that he would become the mainstay of painting. Wu Changshuo painted Cao Zhuan Shu in calligraphy; The lines are extremely deep. Although from the perspective of object painting, the texture of its lines does not seem to be rich and practical, it is precisely because of abandoning the fetters of form that Wu Changshuo's paintings entered the temple of "meaning", thus forming a "freehand brushwork" expression that influenced modern China painting circles. The theme of Wu Changshuo's painting is mainly flowers, and he learned painting late. He can only draw people after 40. In the early stage, he studied under Ren Yi, then under Zhao's painting method, and learned from Xu Wei, Yang Zhou Eight Eccentrics and other painting methods, which benefited a lot. He loves plum blossom very much, and often paints with plum blossom, using the brushwork of writing big seal script and cursive script. He has both ink plum and red plum, and the water and color of red plum paintings are just right. Red and purple alternate, pen and ink are smooth and full of interest. There was a poem "Bitter railway people know each other", which used plum blossoms to express their cynicism. I also like making orchids. In order to highlight the clean and lonely character of orchids, I like to paint with thick ink or light ink and seal script brushwork, which is strong and powerful. Draw bamboo poles lightly with light ink, and draw leaves with thick ink, with varied density, or with pine, plum, stone and so on. Become a "double clear" or "three friends" to express their feelings. Chrysanthemum is also the subject he often paints. He painted chrysanthemums with rocks, or inserted tall ancient bottles to match the situation of chrysanthemums. Chrysanthemums are mostly yellow, or black chrysanthemums and red chrysanthemums. Mo Ju painted with Jiao Mo, and the chrysanthemum leaves splashed a lot, with different shades and distinct layers. In his later years, he painted more peonies, blooming brilliantly, bright carmine, containing more water, and then compared with the dense branches and leaves, it was full of vitality. Lotus, daffodils, conifers and cypresses are also often painted themes. Bamboo shoots, vegetables, gourds, pumpkins, peaches, loquats, pomegranates and other fruits and vegetables are also painted one by one, full of life. The works are vigorous and powerful with color and ink, and the really interesting poems and free and easy calligraphy inscribed on the paintings, with simple seals, make the poetry and painting seal into one furnace, which has a great influence on modern flower-and-bird painting (see the color picture "Photo courtesy of Qing Dynasty" (Qing Dynasty)). ▲ Painting works
Tianzhu Flower, Wisteria, Mo Hetu, Apricot Flower, Twelve Screen Flowers, Plum Blossoms, Four Screen Flowers, Peony, Shi Lan, Turquoise, Flowers, Wisteria, Miscellaneous Album (one of them), Two Red Plums, Roses, Reed and Oranges, Autumn Beauty, Three Thousand Years Results, People, Three Thousand Years Results, Zhi Tao, Immortality, Shi Mei. In the history of modern painting in China, there is a saying that "Northern Qi refers to Qi Baishi, a master of flower and bird painting who lives in Beijing, and" Southern Yellow "refers to Huang, a master of landscape painting in Zhejiang. They are juxtaposed by the art world, which shows that Huang's artistic skill and achievements are extraordinary. Huang Yu was born in Jinhua, Zhejiang in 1865 and died in 1955. He is good at landscapes, flowers and sketches, but he became famous relatively late. After the age of 50, the painting style gradually became realistic, and after the age of 80, it really formed the familiar "black, dense, thick and heavy" painting style. Huang's landscape painting in his later years was profound, magnificent and shocking, which made China's landscape painting rise to a supreme level. Because of his outstanding contribution in art history, Huang was awarded the title of "Excellent Painter of China People" by the state on the occasion of his 90th birthday.
It is used as the axis of the map of Lin Qiu, and the paper is colored. Longitudinal 122.8 cm, transverse 48.8 cm. Now it is in Tianjin People's Fine Arts Publishing House. At first glance, this picture shows overlapping mountains, sparse trees and clouds. The foreground is a hillside, Gu Song is lush, and there are several bungalows, which are strewn at random. There is a four-corner pavilion behind the garden, and a person sits in it. There are many trees on the mountainside, and the branches are oblique, towering into the mountains and standing alone. On the left is a vast lake. Two sailboats are sailing downwind between the two mountains, lined up and the water is dry, which makes the mountains and rivers have a close relationship of mutual beauty. Although this picture is full of mountains and plains, winding mountain roads, dense forests and various levels, it is still beautiful and vivid. The idea is plain and strange, close to its essence, far from its potential, unconventional, dry and moist, virtual and real, complex but not chaotic. This is inseparable from the painter's long-term artistic practice, which has brought his painting art to a perfect state. This painting can also fully reflect his artistic style of "lush mountains and lush vegetation". Li Keran's ink-and-wash paintings swept away the refined literati habits, especially the basic tone formed by sad black, which deeply captured people's feelings. Under the restriction of this sad melody, even if there is a trace of elegance in the painting, it will be the sad tone of this black world. After 1954, taking nature as a teacher, he went to Jiangnan for many times to explore the changes of light and ink, and formed a unique style, which can summarize its artistic connotation with black, full, rising and astringent, and created a new pattern of the ink world.
The picture structure of Li Keran makes people feel a China landscape that has stood for thousands of years. A Fan Kuan-style full composition, the mountain is approaching, the waterfall condenses into a white seam, carved inch by inch with heavy tones, and goes deep into every corner of the picture, showing the largest and richest content on a piece of paper.
Since 1943, Li Keran has been engaged in the teaching and creation of Chinese painting, and later studied under Qi Baishi and Huang, devoting himself to the research of national traditional painting. In 1950s, a revolution took place in the field of Chinese painting, advocating new Chinese painting. So after 1954, he went to Jiangnan many times to explore the changes of "light" and "ink". Li Keran's sketching skills are solid, and his works make people feel the China landscape that has stood for thousands of years. Fan Kuan-style full composition, the mountain is coming, the waterfall condenses into a white seam, and it is portrayed inch by inch with heavy tones, which goes deep into every corner of the picture and shows the largest and richest content on every piece of paper. The value of Li Keran's landscape painting mainly lies in his creative exploration of new schema and profound spiritual strength. Qi Baishi advocates that art is "between similarity and dissimilarity"; Painters in his later years include Fa, Shi Tao and Wu Changshuo. Formed a unique freehand brushwork style of Chinese painting, they started a school of red flowers and ink leaves, especially fruits, vegetables, flowers, birds, insects and fish, with famous figures and landscapes, and enjoyed the reputation of "Southern Wu and Northern Qi" with Wu Changshuo. With its simple folk art style and traditional literati painting style, it has reached the peak of modern flower-and-bird painting in China. Ding Jing and Huang studied seal cutting at first, and then Zhao? Uncle, and take French, Chinese and Indian; See "Sangong Mountain Monument" and "Tiantan Monument". The seal cutting method is changing again and again, and the printing style is magnificent and unrestrained, which is a representative figure in the evolution period of modern printing style. His calligraphy is widely spread in inscriptions, and he once lived in He, Jin Dongxin and other places, especially in seal script and running script. Poetry does not ask for work, has no meaning of Tang and Song Dynasties, learns from nature, has a clever brushwork and has a unique style. His painting and printing poets call it the four musts. I have worked hard all my life, worked tirelessly, earned my own living, and have high moral character, especially national integrity. He left more than 30,000 paintings, more than 3,000 poems, self-reports and other manuscripts, and wrote many volumes. His works have been printed repeatedly in various forms.
Qi Baishi was greatly influenced by Chen Shiceng in painting art, and he also learned from Wu Changshuo. He specializes in flowers and birds, and his pen is full of ink. But drawing insects is meticulous and extremely fine. He also praised Xu Wei, Zhu Da, Shi Tao and Jin Nong. Shrimp, crab, cicada, butterfly, fish, bird and ink are especially vivid, full of the vitality of nature. Landscape composition is unique and unconventional, full of creative spirit, unique seal cutting and outstanding calligraphy, which is well known to everyone. Qi Baishi's paintings are against unrealistic dreams. He often pays attention to the characteristics of flowers, birds, insects and fish and tries to figure out their spirit. He once said: To draw a picture of all kinds of insects, to draw a picture of all kinds of birds, you must draw your own face. His sentences are very witty and clever. He drew two chickens fighting for a bug, and the title said, "I'll call you tomorrow." A picture of cotton reads: "Flowers warm the world, but flowers cool the world". The title of "Tumbler Map" is "Autumn fans shake white on both sides, and official robes are black."