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赵望云先生作为近现代中国绘画发展的历史性人物,应该、而且现在已经能够把他放在整体历史情境中进行研究。基于此立足点,本文试对赵望云1932—1937年间的作品——冀南农村写生(1933),塞上写生(1934)和鲁西、津浦、江浙旅行写生(1936—37)进行风格分析研究。 一 在这一时期之前,赵望云先生自1925年秋季来到北京,先入姚茫父支持、邱石冥实际主持的京华美专,半年后又转入国立艺专选科(国画系二年级)。“出于自已的热爱”,他在学习上能潜心钻研,“热衷于国画研究和学习”,加之艺术上的天赋,这段学习生涯必然使他在艺术传统和绘画技巧上大有收获。那时的北京,经由“五四”运动的文化浪潮,已经洋溢着寻觅进步的气息。1927年他“脱离
As a historical figure in the development of modern Chinese painting, Mr. Zhao Wangyun should and can now put him in the overall historical situation to conduct his research. Based on this standpoint, this article attempts to analyze the style of Zhao Wangyun’s works from 1932 to 1937, such as the sketching of rural areas in South China (1933), the sketching of the Eastern Regions (1934), and the sketching of Luxi, Jinpu and Jiangsu-Zhejiang provinces (1936-37). Prior to this period, Mr. Zhao Wangyun came to Beijing from the fall of 1925 and first came to Yao’s father to support him. The Beijing-based American Academy, which was actually hosted by Qiu Shi-min, was transferred to National Arts Specialist (second year of Chinese painting) six months later. “Out of his own love,” he devoted himself to studying. He was “keen on the study and study of traditional Chinese painting” and combined with the talent of art. His learning career inevitably brought him great achievements in artistic tradition and painting skills. At that time, Beijing was filled with the atmosphere of seeking progress through the cultural wave of the May 4th Movement. In 1927 he "broke away