
一百年前世纪交替充满动荡的年代。中国艺术在经历了几千年的自我发展,自我成就之后,开始看向西方。许许多多热爱绘画的中国年轻人跨越千山万水,去寻找,探索一个关于艺术的崭新天地。他们怀着梦想走出国门,最终却都在以各自的方式回归了中国绘画的精神。但正是一百年前艺术的交融和相互启发,中国绘画才有了全新的面貌。相比一战之后那批被称为“迷惘的一代”的美国年轻作家群体,著名美国亚洲史学者玛丽莲列文Marilyn A. Levine曾经将20世纪初探索西方文化的中国年轻人称为“发现的一代”。他们在欧亚大陆的另一端,发现着不一样的生活方式,发现着不一样的文化形态。
| Publishes | Daily | Episodes | 12 | Founded | 2 years ago |
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我最喜欢的潘玉良的一幅作品叫做《采花女》,是1953年她在巴黎创作的。一位身穿白色旗袍的女子,盘起头发,在花丛中跳着舞,手里拿着一束白色鲜花。 旗袍包裹着她的身体,形成一个大大的s形。脚上穿一双西式罗马系带凉鞋。中式旗袍,穿起来固然端庄,但终究会觉得拘束,只能小步慢走,袅袅婷婷,可一双舒适的鞋子,却让她有了更多的自由度。中式旗袍搭配西式凉鞋,尽管有着身体不得已的限制,她仍然可以在花丛间翩翩起舞。
1977年,潘玉良在巴黎去世,享年八十二岁。临终前,她交代友人说希望自己能穿着旗... more
50年代之后,赵无极的绘画带着明显中国风的元素,以抽象表现主义的风格迅速融入了当时最流行的艺术潮流。当他在海外有了地位和声誉之后,又带着国际化的姿态回归亚洲市场,并且在创作后期,又重新找回了中国绘画的精髓。从商业上说,赵无极毫无疑问是那个年代的艺术家当中,最为成功的一位。可是,在感情的世界里,他经历了太多痛苦和波折,这些痛苦和受伤的情绪,被他一一画在了画布上。
说起吴冠中的画,大家最深的印象,或许是他用黑白的油彩,画出了清新淡雅的江南水乡。 从年轻时沉迷于马蒂斯野兽派明亮鲜艳的色彩,到后来甘愿退回到黑白灰交错的极简世界,这期间,吴冠中经历了一段漫长的历程。
在这个艺术留学天团中,常书鸿是我最后一个知道的人,也是我最为敬佩的一个。他的经历告诉我们,都市的繁华,生活的安逸,在真正的热爱面前都可以舍弃。无论在多么偏远、荒芜、艰苦的地方,心中的热爱都足以照亮生命。
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Apple Podcasts | #214 |
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发现的一代——中国20世纪艺术留学天团 launched 2 years ago and published 12 episodes to date. You can find more information about this podcast including rankings, audience demographics and engagement in our podcast database.
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