王流秋画作

 1919年 11月生于泰国。

1937年 毕业于曼谷树人师范学校。

1938年 回国参加抗战。

1945年 毕业于延安鲁迅艺术学院美术系。期间创作了大量以抗战为题材的木刻和素描作品。

1949年 7月加入中华全国美术工作者协会全国委员会任候补委员，9月由山东新华书店出版社出版《人物画初步》1 书。

1950年 到地方 美术学院华东分院任教，任绘画系主任。

1950-1954年 在教学同时在油画\素描和连环画等领域进行了大量的创作实践.期间有油画"淮海战役"，素描创作搞"反霸"，连环画"白母鸡的故事"等。

1953年 10月被选为第1 届中国美术家协会理事。

1955-1957年 参加地方 美术学院马克西莫夫油画班，1957年和平 题材油画《黎明》和《转移》奠定了他作为1 个理想 主义著名油画家的地位。

1979年 10月被选为第三届中国美术家协会理事。

1981年 掌管 浙江美院油画系第1 工作室教学。

1982年 由学院组织和胡善余、黎冰鸿、林达川、费以复共5 位油画系教授同赴西部写生,经敦煌、新疆牧场等地,为期二个月。

1983年 掌管 成立浙江省油画研讨 会(现浙江省油画家协会)，并被推选为第1 任会长。

1984年 重访泰国，在曼谷举办画展。

1985年 5月被选为第四届中国美术家协会理事。

1992年 访问法国，在巴黎举办画展。

1996年 在上海、杭州、香港举办了《从艺回顾画展》，并出版画集。

2000年 向浙江博物馆捐赠个人绘画作品、画稿三十件，并展出。

2001年 上海美术馆收藏《和璞画集》中四十件作品。

2002年 浙江人民美术出版社出版《名家名品 王流秋》画集。

2003年 参加第三届油画展优秀作品展。

2011年2月27日在杭州逝世，享年94岁。3月8日，中国美术学院油画系举办追思会。

 20世纪40年代木刻作品《宣扬 卫生》、《新年劳军》收入《中国新兴版画5 十年全集 》，20世纪50年代初作素描《斗霸》、《劝降》。油画作品《转移》、《黎明》、《露宿》收入《中国美术全集》古代 卷，部分作品为中国美术馆及江苏、上海、浙江美术馆收藏。20世纪80年代起，画风倾向写意与表现，注重 线条与色彩的价值。离休后继续作画，作品频繁展出，暮年 出访泰国、法国并举办展览。前后 在上海、杭州举办个人回顾展，1996年11月在上海美术馆举办"王流秋从艺50年回顾展"。 同时出版《王流秋油画集》。

王流秋

 中国传统画论历来强调人品与画品的统1 ，王流秋本身 亦置信 "先要有高格调的人,才有高格调的画"。我与王流秋相识相交已久,他为人的格调是很高的,他的画我认为亦是格调很高的。王流秋的画可以分为三个时期。 第1 个时期是新中国成立前后到1957年"反右",这个时期中他积累了在革命队伍中的丰富的生活经验,画的大部分是革命题材。1947年所作《伤员看望医生》创作素描,朴素、单纯、深沉,此时已见手笔不凡,为新中国成立前的他的代表性作品。

由"双兰"画廊所举办的浙江美院油画展。展品甚多，亦富力作。但是，映我心目而为之1 亮者，惟王流秋先生之静物画--《秋菊青瓶》1 图而已。此画篇幅并不大，但充满了中国绘画的魅力，创意难得。由于 油画东渐百年间，有数 行家在注力中国化，却成功者不多。我喜见其1 变旧风。细品这幅画之好处是:色彩斑斓，既有油画优点 例冷暖、调子处理之妙，又有中国民间所乐见之"红对绿1 块玉"的年画风情，有感染力。构图方面将主体兀突居中，直率地开门见山如儿童画之稚拙，而其内在巧构，布伏着塞尚的线块法则，这手段又与传统写意画章法暗合，寓巧于拙，咀嚼有味。论其笔法，走笔自在 ，浪籍环回，与西洋人描型之笔触大相径庭，它讲究气息。王流秋先生作画既中肯又温文尔雅，有别于摹、作、削--呈现出中国文人之风度。我欣赏数回，徘徊久良于画件下。并将感受告诉主办人李木兰小姐。她说我是王流秋先生的知音，希望我以文张之，由于 ，王先生之画曲高和寡。我闻之而沉默了，甚欲1 抒己见。

再从另1 个角度来比较王流秋先生之作品与时流之不同。黄宾虹先生曾为好画家下过定义:"胸饶卷轴、外遣势利，绘事斯称美备"。这是真谛 。当今画坛鱼龙相杂，胸饶卷轴者可寻，而能外遣势利者寥寥。由于 世俗是1 种巨大的引诱 ，画家内心世界也是炼狱。而画幅却是画家的"心灵门户"，是没法 遁形的。王先生历5 十年之困斗，但见他没有生搬西欧、东欧的画法，没有以巧致而堕末法，没有以香艳而媚俗趋势，他是1 管凤霜老笔。可能他已深知历史画与文人油画的迥异，因而 ，在暮年 画件中恪守中国画是介乎抽象与具象之间的宝训，又掇取西画之坚实的塑造能力和丰富的色彩方法;他更将黑白处理到最低程度，而让笔触如同笔墨水份普通 ，显示出国画旨趣。这是王先生以毕生思索奋斗所交的功课，甚为悲壮呵。他似已悟出中国画立意、为象之本乎"心正笔正"的道理，并且认知传承即是历史之责任!中国文明 旨在乎 味，而成心 味的传承即是历史!当然，"静物风景"不及"历史题材"来得壮观，但王先生暮年 之作实实在在体现一名 严肃艺术家的内心精神。肯定较初期 作品更有深度。如果要我进1 言的话，则我要告诉王老:"海外有画家评论大陆画家是--凡严肃画家皆有'骚意'"。"短发萧骚，扣舷独啸，表里俱澄澈!"殷期王先生再自我内省，更开拓入无我之境，出"俱澄澈"之画。

 Born in Thailand in November 1919.

Graduated from Bangkok Shuren Normal School in 1937.

He returned to China in 1938 to participate in the War of Resistance.

He graduated from the Department of Fine Arts of Luxun Art College in Yan'an in 1945. During this period, he created a large number of woodcut and sketch works on the theme of the Anti-Japanese War.

In July 1949, he joined the National Committee of the All-China Association of Artists as an alternate member. In September, he was published by Shandong Xinhua Bookstore Publishing House.

In 1950, he came to East China Branch of the Central Academy of Fine Arts as a teacher and chairman of the Department of Painting.

During 1950-1954, a great deal of creative practice was carried out in the fields of oil painting, sketch and comic strip. During this period, there were oil painting "Huaihai Battle", sketch creation "anti-hegemony", comic strip "story of white hen" and so on.

In October 1953, he was elected as the first member of the Chinese Artists Association.

From 1955 to 1957, he attended the Maksimov Oil Painting Class of the Central Academy of Fine Arts. The war-themed oil paintings "Dawn" and "Transfer" in 1957 established his position as a famous realistic oil painter.

In October 1979, he was elected the third member of the Chinese Artists Association.

In 1981, he presided over the teaching of the first studio of the Oil Painting Department of Zhejiang Academy of Fine Arts.

In 1982, five professors of oil painting department, Hu Shanyu, Li Binghong, Lindachuan and Fei Yifu, went to the west to sketch for two months through Dunhuang and Xinjiang pastures.

In 1983, he presided over the establishment of Zhejiang Oil Painting Research Association (now Zhejiang Oil Painters Association), and was elected as the first president.

In 1984, he visited Thailand again and held an exhibition in Bangkok.

In May 1985, he was elected the director of the 4th China Artists Association.

He visited France in 1992 and held an exhibition in Paris.

In 1996, in Shanghai, Hangzhou and Hong Kong, "From Art Review Painting Exhibition" was held and the collection of paintings was published.

In 2000, 30 individual paintings and drawings were donated to Zhejiang Museum and exhibited.

In 2001, the Shanghai Museum of Art collected 40 pieces of works in the Collection of Hepu Paintings.

In 2002, Zhejiang People's Fine Arts Publishing House published a collection of paintings of Wang Liuqiu, a famous artist.

In 2003, he participated in the Third Oil Painting Exhibition of Excellent Works.

He died in Hangzhou on February 27, 2011 at the age of 94. On March 8, the Department of Oil Painting of China Academy of Fine Arts held a memorial meeting.

In the 1940s, woodcut works "Publicity and Health" and "New Year's Labor Force" were included in "Selection of Fifty Years of Emerging Chinese Prints". In the early 1950s, they sketched "Fighting Overlords" and "Persuading Subsistence". Oil paintings "Transfer", "Dawn" and "Camping" are included in the Modern Volume of "Complete Works of Chinese Art", some of which are collected by the Chinese Art Museum and Jiangsu, Shanghai and Zhejiang Art Museums. Since the 1980s, the style of painting tends to be freehand and expressive, paying attention to the value of lines and colors. After his retirement, he continued to paint. His works were frequently exhibited. In his later years, he visited Thailand and France and held exhibitions. Personal retrospective exhibitions were held in Shanghai and Hangzhou successively. In November 1996, Wang Liuqiu held a retrospective exhibition of 50 years of art in Shanghai Art Museum. At the same time, Wang Liuqiu's Oil Painting Collection was published.

Chinese traditional painting theory has always emphasized the unity of character and painting. Wang Liuqiu himself believed that "high-style people are the first to have high-style paintings". I have known Wang Liuqiu for a long time. His style is very high. I think his paintings are also very high. Wang Liuqiu's paintings can be divided into three periods. The first period was "anti-rightist" from the founding of New China to 1957. During this period, he accumulated rich life experience in the revolutionary ranks. Most of his paintings were revolutionary themes. In 1947, he wrote a simple, simple and profound sketch of Visiting Doctors for the Wounded, which was his representative work before the founding of New China.

Oil Painting Exhibition of Zhejiang Academy of Fine Arts was held by Shuanglan Gallery. There are many exhibits, and they are also full of work. But the only thing that shines in my mind is Mr. Wang Liuqiu's still life painting, The Autumn Chrysanthemum and the Green Bottle. This painting is not very large, but full of the charm of Chinese painting, creativity is rare. Because oil painting has been going east for a hundred years, countless experts are focusing on China, but few have succeeded. I like to see it change. The advantages of this fine painting are: colorful, not only the advantages of oil painting, warm and cold, melody processing, but also the Chinese folk favorite "red to green, a piece of jade" New Year painting style, appealing. In composition, the main body stands out in the middle and opens the door as naive as children's painting, while its intrinsic ingenuity lies in Cezanne's line rule, which coincides with the traditional freehand brushwork and implies clumsiness and delicious chewing. On his writing style, he is free to use his brushwork and has a vagrant style, which is quite different from that of the Westerners. He pays attention to the flavor of his brushwork. Mr. Wang Liuqiu's painting is not only pertinent but also gentle and elegant, which is different from copying, painting and cutting, showing the demeanor of Chinese literati. I appreciated it several times, wandering for a long time better than under the painting. And tell the host Miss Li Mulan how she feels. She said that I was Mr. Wang Liuqiu's intimate friend. I hope I can write Zhang Zhi, because Mr. Wang's paintings are high and few. I heard it and was silent. I wanted to express my opinions.

From another point of view, the author compares the differences between Wang Liuqiu's works and the times. Mr. Huang Binhong once defined a good painter as "chest Rao scroll, outgoing snobbery, painting is called perfect". This is the truth. Nowadays, there are many fishes and dragons in the world of painting, and there are only a few snobs to be sent out. Because secularity is a great temptation, the painter's inner world is also purgatory. But the painting is the painter's "spiritual portal" and can not be reclusive. Mr. Wang has been struggling for 50 years, but he has not copied the painting methods of Western and Eastern Europe, nor degraded them with ingenuity, nor tended to be charming and vulgar. He is an old pen of Phoenix frost. Maybe he knows the difference between historical painting and literati oil painting, so sticking to Chinese painting in his old paintings is a valuable lesson between abstraction and representativeness, and grasping the solid shaping ability and rich color methods of Western painting; he also treats black and white to the lowest degree, while letting brush strokes like ink, show the tenet of Chinese painting. Interest. This is Mr. Wang's lesson, which is very sad and stirring. He seems to have realized that Chinese painting's intention and image are based on the principle of "correct mind and correct writing", and that it is the responsibility of history to recognize inheritance! Chinese culture aims at meaning, while meaningful inheritance is history! Of course, "still life scenery" is less spectacular than "historical theme", but Mr. Wang's works in his later years actually reflect a serious artist. Inner spirit. It must be deeper than earlier works. If I were asked to say a word, I would like to tell Wang Lao: "Overseas painters comment on mainland painters - all serious painters have'savour'." "Short-haired Xiao Sao, buckling the side and whistling alone, both exterior and interior are clear!" Mr. Wang of Yin Dynasty introspected himself again, and even opened up the realm of selflessness, and produced the painting of "all clear".