朱宣咸(1927年浙江——2002年重庆),中国画画家、木刻版画家、漫画家与美术活动家。20世纪40年代初起从事中国画与中国新兴木刻版画,半个多世纪来,创作了大量中国画、版画、漫画、插画、水粉画、水彩画、连环画等作品,并被中国美术馆及各地美术馆、博物馆等收藏;被《中国年鉴》,《中国百年版画》等大型文献收录;从1946年到2002年多次入选国内外一系列重要展览,发表作品数千次,艺术风格被《人民日报》等主要媒体专题评论;出版有《朱宣咸作品选》,《朱宣咸花鸟画选辑》,《朱宣咸木刻版画集》,《朱宣咸风景木刻版画选辑》,《朱宣咸漫画》,《艺术常青——美术家朱宣咸》等;由文化、新闻、出版等六单位联合主办了“朱宣咸从艺五十五年画展”;生平被载入《中国美术辞典》等国家级辞书

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朱宣咸画展(2014年上海)

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朱宣咸画展
Zhu Xuanxian's Art Exhibition

 

“朱宣咸画展”,2014年12月5日——21日,在位于上海市的朱屺瞻艺术馆举行。

该展览被纳入作为“2014上海市民文化节”的专题项目,由上海市美术家协会、重庆市美术家协会共同支持,朱屺瞻艺术馆、重庆坦克库文化艺术传播有限公司共同主办,由策展人、批评家、四川美院教授、博士生导师王林策展

人民日报上海分社、光明日报、解放日报、文汇报、东方早报、上海市政府门户网、雅昌艺术网华东站等媒体进行了报道。  

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朱宣咸是在中国

最早介入现代艺术的那一批人

——“朱宣咸画展”前言

 林

 

 要:

 

· 朱宣咸先生是在中国最早介入现代艺术的那一批人。

 

· 浏览朱宣咸作品,让人想到一个问题:艺术家固然因时代不同而有所变化,但真正优秀的艺术作品却往往是跨越时空的。

 

· 纵观朱宣咸的中国画,题材之丰富少有人比;在朱宣咸笔下,其形式感与象征性并重,见证着先生的自尊与自信。

 

· 朱宣咸是上海新兴木刻版画的重要参与者,通过朱宣咸艺术从中可以窥见历史进退的轨迹。

 

文:

 

朱宣咸先生是一位涉猎甚广的画家。中国画从写意水墨到工笔重彩,版画从黑白木刻到套色彩印,再加上水粉、水彩、插图、漫画及连环画,可以见出朱先生旺盛的创作热情和不断探索的艺术精神。

 

朱宣咸先生是上海新兴木刻版画的重要参与者,这在中国是最早介入现代艺术的一批人。

 

朱先生作为进步青年遭遇学校开除、被捕入狱的经历,使他成为社会黑暗的愤怒批判者。作品直面苦难,关注底层,对眼前身边、街头巷尾种种不平现象,感慨于心,施之以笔。穷困与辛劳、流浪与饥饿、妻离子散与家破人亡,成为朱先生创作最多的题材。或许因为青春激情需要宣泄,朱宣咸先生接受了现代表现主义的影响。德国早期表现主义艺术的反社会倾向,和当时年轻一代的革命情绪很有一致性。朱先生喜欢用形体的大块黑色以及非写实的弧形点线,来构成黑暗笼罩的整体氛围;画面简练、粗犷、凌厉且动人心魄。肢体夸张、动作外肆的造型语言强烈而情绪高昂,似乎正在发出拼命叫喊的声音。这些作品当成为四十年代中国现代版画的力作而当之无愧。

 

五十年代以降,朱宣咸先生版画创作仍然注重黑色块面造就的构图关系,但场景增多,特写减少,弱化表现而倾向写实,最显著的是天空明亮,画面趋于规整与清晰。这是社会要求的变化,也是画家心态的变化,从中可以窥见历史进退的轨迹。

 

除了版画,朱宣咸先生的中国画创作是持续时间最长的。纵观其作,题材之丰富少有人比。借助版画功力,尤其是板块、线刻的力度,朱先生在中国画创作中强调构图,重视线形。比较而言,他是较少使用皴法的国画家,即亦倾向单纯。其水墨与色彩的运用往往出于构图所需,致力于描绘物象的鲜活与亮丽。朱宣咸先生曾将水墨的浸渍效果引入版画,营造出朦胧、温润的抒情诗意。

 

从社会批判性到风物抒情性,朱宣咸先生似乎把政治留给了时政漫画,而让自己多少得以解脱。在过度强调艺术为政治服务的年代,也只有抒情性描绘的形式美,尚存艺术家发挥的余地。在朱宣咸笔下,不管是红叶的灿烂,还是苞米的充盈;不管是竹笋的倔劲,还是枇杷的丰盛;不管是荔枝的润泽,还是樱桃的水灵;不管是麻雀的生动,还是鹰隼的猛悍,其实都有画家苦苦探索的身影。

 

特别值得提及的是画梅,朱宣咸先生从1943年开始,数十年贯穿始终,从未放弃。读其画作,当以白梅为最,而梅朵花骨勾勒之技巧尤为突出,其形式感与象征性并重,表现出梅花与众不同的繁盛、净洁与雅致,以为自况。见证着先生的自尊与自信。

 

浏览朱宣咸先生的作品,让人想到一个问题:艺术家固然因时代不同而有所变化,但真正优秀的艺术作品却往往是跨越时空的。

 

当我看到朱宣咸先生1948年6月的新兴木刻版画《作片刻休息》,十分震惊,时间已过去66年,但这幅画就像是今天重庆“棒棒军”的肖像画。——也许贫富差距永远是一个社会问题,但艺术对于底层的关注与尊重,恐怕是任何一个社会都不可缺失的。

 

以此阅读先生前前后后的创作,我们应该得到怎样的启示呢?

 

是为序。 

 

2014年11月21日

四川美院桃花山侧

 

(本文作者:王林,著名当代艺术策展人与批评家、博士生导师,四川美术学院教授。

“2013威尼斯双年展平行展”等策展人,2014年上海“朱宣咸画展”策展人)

 


Zhu, Xuanxian Art Exhibition

(Shanghai,2014) 

From December 5 to December 21, 2014, the Zhu Xuanxian Art Exhibition has been featured for the first time in Shanghai at Zhu Qizhan Art Museum. 

Support Committee: Shanghai Artists Association, Chongqing Artists Association

Organizing Committee: Zhu Qizhan Art Museum, Shanghai,Chongqing Tank Loft Culture Communication Co., Ltd.

Curator: Wang Lin

Exhibition Schedule: Dec. 5th to Dec. 21st, 2014 (Closed on Monday)

Opening Hour: 9:30-16:30

Exhibition Venue: Zhu Qizhan Art Museum (580 Ouyang Road, Shanghai)

Opening Reception: Friday, Dec. 5th 2014, 3pm

 

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The exhibition has been featured Mr. Zhu Xuanxian’s early Chinese ink paintings and some of his print works. His artwork shows ideals of truth, goodness, beauty, and the pursuit of artistic spirit. His works are distinctively contemporary, lyrical, systematic and artistically diverse.

Mr. Zhu Xuanxian was a famous Chinese art painter, printmaker, cartoonist and art activist. He was borned in Taizhou, Zheijiang Province in 1927, he died in Chongqing in 2002.

In the early 1940s, he engaged in Chinese traditional art painting, Chinese woodcut and current political cartoons. He joined Shanghai Faction and Luxun’s Mondern Woodcut Group from Zhejiang to Shanghai. In 1946, he joined the China National Artists Association. In 1948, he was arrested in the “Watch” event, one of the famous events in the modern history of Shanghai.

In 1949, Zhu Xuanxian and Liu Kaiqu, Zhang Leping, Pang Xunqin, Yang KeYang, on behalf of Shanghai art circles, published "Declaration of artists" in the newspaper of “Da Kung Pao”. This Declaration represents a new starting point of Art of National Government and Modern Art History of Shanghai. At the same time, he entered China National Art Association, started creating Chinese early art education system. By the end of 1949, he followed the army to Chongqing and became an executive committee member of the China Journalists Association of Fine Arts (China Artists Association). He participated in the National Art Exhibition review; he was the founder of Chongqing Artists Association; he was the first executive, vice chairman and secretary general, and consultant of Chongqing Art Museum; he was the founder and advisor of Chongqing Academy of Painting; he was the founder and president of Chongqing Academy of Fine Art. As one of the pioneers in 20th century, he made extraordinaire achievement for the development and prosperity of Chongqing’s modern art movement.

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Foreword

Zhu, Xuanxian was one of the important participants in Shanghai emerging Woodcut. He was also one of the first group artists who involved modern art in China. He was expelled from school as a progressive youth encounter, and was once arrested and jailed. Due to his experiences, he became a social critic. His work reflects the suffering of life; he was more concerned with the bottom of the society. His painting subjects demonstrate all sorts of uneven phenomena on the street. Mr. Zhu’s most creative themes feature the hardworking poor, the homeless and the hungry. Perhaps his youthful passion needed a form of expression. Mr. Zhu’s artwork integrated modern expressionist influences. Early German expressionism was consistent with the younger Chinese generation’s sense of emotion. He liked to use chunks of black and unrealistic dotted lines to form the dark atmosphere prevalent in his paintings. The rough, sharp images excited and captivated people. Through his exaggerated painting style, he expressed his desperate cry for life and dissatisfaction with reality at the time. Thus, his works became masterpieces of modern Chinese prints in the 1940s. After the 1950’s, Mr. Zhu’s prints continued his previous style of the unique composition. His painting images became neat and clear again. Most significantly, the skies in his paintings grew brighter. His painting style developed alongside societal changes; viewers can observe the development of Chinese art history through his works.

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Mr. Zhu committed most of his time to creating Chinese paintings and prints. Few artists can compare with Mr. Zhu’s commitment to explore a variety of themes in artwork. Zhu has stressed on the composition and the linear in his Chinese painting. As he is rarely use “Cunfa” in his work, thereby his painting style tends to more simplify. The way he used ink and color depends on the required of composition or how to describe the vivid images. Zhu has introduced Chinese ink painting effect to the wood print technics, creating the hazy atmosphere and expressing the lyrical effect. During the special era that art was considered something great social importance, the artwork would have to submit to restrictions of both theme and treatment, artists can only play with the lyrical depiction for him artwork. His artwork contains the splendid autumn maple trees, fruitful corns, robust bamboo shoots, juicy lychee, active sparrow and fierce eagle. All of these reflect his efforts in searching and exploring art in nature. His most favorites are plum blossoms. Starting from 1943, he has been devoting to it for several decades.

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By enjoy Mr. Zhu’s artworks, reminiscent of us the truly outstanding artworks can across time and space limit, although each artist in the different era has their own characterize. When I saw his painting “take a break”, which was made in June 1948, time has past 66 years, but this picture is still like the portraits of today’s Chongqing “Bang Bang Army”. Maybe the gap between rich and poor will always be s social problem, but Mr. Zhu’s concern and respect for the bottom of the society were never stopping or missing.

Through all of Mr. Zhu’s art creations, what kind of inspirations can we get?


 

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