Li Keran (197 ~ 1989) was a modern China painter in China. Born in Xuzhou, Jiangsu Province on March 26th, 197, he died in Beijing on December 5th, 1989. Li Keran loved painting since childhood, and learned to paint landscapes when he was 13. In 1923, he entered Shanghai Academy of Fine Arts. Two years later, he graduated and returned to his hometown as a primary school teacher, and taught at Xuzhou Academy of Fine Arts. In 1929, he was admitted to the research class of West Lake Art Institute to study oil painting and was guided and appreciated by Lin Fengmian. In 1932, he made Zhong Zhen and was selected for the 2nd National Art Exhibition
In 1937, he entered the third hall of the Political Department presided over by Guo Moruo and painted anti-Japanese posters in Wuhan and other places. In 1942, he participated in the joint exhibition of contemporary painters in Chongqing, Sichuan. In 1943, he served as a lecturer of Chinese painting in National Art College. The following year, an exhibition of ink and wash freehand brushwork was held in Chongqing. In 1945, he held a five-person joint exhibition with Lin Fengmian, Ding Yanyong, Guan Liang and Ni Yide. The works of this period are mainly landscapes and freehand brushwork figures. In 1946, he went to Beiping Art College to teach a brief introduction to Li Keran. In the spring of the following year, he became a teacher with Qi Baishi and stayed with him for 1 years. In the same year, he won the wonderful experience of Huang Binhong's ink accumulation. After 1949, he was elected as the director of China Artists Association. In 1953, a joint exhibition of sketches by Li Keran, Zhang Ding and Luo Ming was held in Beijing. In 1957, he visited the German Democratic Republic and painted a large number of sketches, which reached a new height in pen and ink, conception and realm. The representative works of this period integrated the characteristics of western modern painting, which paid attention to perceptual reality and object individuality, into the brush and ink form of Chinese painting, broke the old pattern of traditional landscape painting, and injected fresh life feelings and modern characteristics into the works, which was a breakthrough in traditional landscape painting and gradually formed its own unique style. In 1959, he held exhibitions and published collections of paintings in Beijing, Tianjin, Shanghai, Nanjing, Guangzhou and Czechoslovakia, and was elected as a member of the 5th Chinese People's Political Consultative Conference. In 1979, he was elected as the vice chairman of China Artists Association and a member of the All-China Federation of Literary and Art Circles, and was appointed as the president of the Chinese Painting Research Institute. In 1983, it was made into an art education film "Landscape Art in Li Keran", and the appreciation films "Biography of the Mountains and Rivers of the Motherland" and "Painting Cattle in Li Keran". In 1986, a retrospective exhibition of Li Keran China's paintings was held in China Art Museum, and more than 2 of his works in different periods were exhibited. This period is another * * * stage of Li Keran's creation, with more skillful pen and ink, more comfortable writing, more mellow interest and more stylized form.
Li Keran's landscape paintings attach importance to the cohesion of images. He emphasized that landscape painting should be done from scratch, from existence to nothingness, that is, from simplicity to richness, and then from richness to simplicity. His landscape works in the 194s still have the shadows of Zhu Da and Dong Qichang, which are simple and simple, and are a linear pen and ink structure. After 195s, with the help of sketching, the works created a new landscape image, which changed from a linear pen-and-ink structure to a lumpy pen-and-ink structure, with ink as the main part, simple and rich in the whole, thick and profound. He learned from Fan Kuan, Li Tang, Gong Xian, Huang Binhong and other ancient and modern masters the nutrition to create the style of Piaomao Shenxiong, which was completely different from them. Most of his materials are drawn from Jiangnan and Bashu famous mountains and rivers, thus melting and casting the quietness and beauty in his style. His simplicity and mellow northern quality make his style melt into simplicity and profundity. He also introduced light into the picture, especially good at expressing the backlight effect in the morning and evening of the mountain forest, which made his works have the characteristics of hazy confusion and wandering time. Generally speaking, Li Keran's landscape paintings are closer to the perceptual reality of the object than those of the Ming and Qing Dynasties, which weakens the independence of meaning and formal interest in a sense. This is a kind of correction and breakthrough for the tendency of landscape painting becoming more formal and stylized since Ming and Qing Dynasties, and it is in line with the Five Principles. Since the Fourth Movement, the trend of literary and artistic thoughts focusing on realism has been consistent.
Li Keran has put a lot of effort into freehand figure painting, with quick writing, subtle dynamics, exaggerated but not ugly image, simple but not Gu Zhuo, full of humor, wit and life interest, and Qi Baishi once gave a high evaluation. Li Keran is also an expert at drawing cows. He likes the strength, diligence and hard work of cattle, and the studio is named Shi Niutang. Over the years, a large number of cattle grazing maps have been drawn.
Li Keran is good at calligraphy, likes to search for books and posts, and especially loves the North Monument. His introduction to calligraphy in Li Keran benefited from Huang Daozhou as well as his painting accomplishment. The architecture and charm of the structure are re-combined, and the state is quiet and colorful, strong, pale, beautiful and gentle. He has signed many works, and the layout and composition must be managed repeatedly, which is very interesting when he writes.
Li Keran has been a professor of Chinese painting department of Central Academy of Fine Arts for a long time, and has trained many landscape painters. He believes that to learn traditional painting, the first step must be to type in with the greatest skill, and the second step must be to type out with the greatest strength. This is a summary of his artistic practice for decades, and it also reflects his general views on tradition and creation. He has published Li Keran's Ink Sketch, Li Keran's China's Painting and Li Keran's Painting of Cattle.
Li Keran's ink painting swept away the habit of elegant literati, especially the basic color tone formed by sad black, which deeply captured people's feelings. However, under the restriction of this sad melody, even if there is a touch of elegance in the painting, it will be caused by this "black world".
after 1954, he took nature as his teacher, went to the south of the Yangtze River repeatedly, explored the changes of "light" and ink, and formed a unique style, which can be summarized by "black", "full", "rise" and "astringent". Undoubtedly, Li Keran created a new pattern for the world of ink painting.
His picture structure makes people feel a landscape of China that has stood for thousands of years. A Fan Kuan-style full composition, the mountain is approaching, and the waterfall is condensed into a white crack, which is carved inch by inch with a heavy tone and goes deep into every corner of the picture, showing the largest and richest content on a piece of paper.
Critics agree that the value of Li Keran's landscape painting lies mainly in his creative exploration of new schema and his profound spiritual strength.
rather critical
piccolo of a shepherd boy
People are in plum blossoms
Mountains are everywhere
Mountains are everywhere (2)
Sailing pictures of Qingli River
Sunset photos of Yanjiang River
Scenery of Qingli River
Grassland grazing
Old people under brown trees
Bitter songs.