发现的一代——中国20世纪艺术留学天团
一瓢Art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 | 9 months ago |
|---|---|---|---|---|---|
| Language |  ZH-CN | Categories | BooksArts | ||
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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。 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。
从16岁和别人一起在上海开办美术学校开始，刘海粟就一直是个话题人物，包括他和徐悲鸿多年的恩怨，还有因为使用裸体模特在社会上引发的种种争议。他本人有点像一个漩涡中心，当事人曾经或许都剑拔弩张过，但当我们隔着这么长的岁月看过去，一切也不过是云淡风轻的趣事罢了。
在很长一段时间里，我非常喜欢林风眠这个名字，风吹过森林，安静的睡着了。这是一个有着美好意境的名字。直到后来，我才知道，林风眠原名叫林凤鸣，20岁那年，他在巴黎时，和好几个同学一起，把各自在他们看来俗气的名字换掉，将“凤鸣”二字，改为了“风眠”。 more
张大千把这位四川老乡称作“东方马蒂斯”，因为他们对色彩和线条的运用有些许共同点，还有人把他叫做“中国的莫迪里阿尼”，因为二者在人物绘画中有着异曲同工之妙。可这些称呼，远远无法定义常玉。常玉曾经在纽约的室友，后来成为知名摄影师的瑞士人弗兰克说，在常玉身上，他能感受到一种特殊而独有的智慧，并学到了以一种宏观的态度来了解世事。台湾苏富比的前董事衣淑凡女士，是上世纪80年代将无人知晓的常玉推向亚洲收藏市场的第一人，她评价常玉的风格是文人西化，用西方的油彩技法创造出了中国文人画的精神表达。
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