WuGuanzhong limited edition print

About art work


Edition: ***/500

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mark：Supervised by tsinghua university wu guanzhong art research center
and numbered

size：140 × 70cm

with framed: 190×100cm

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From the 1950s to the 1970s, Wu Guanzhong devoted himself to the creation of landscape oil painting and the exploration of nationalization of oil painting. He tried to combine the vividness and rich and delicate colors of European oil paintings with the traditional Chinese artistic spirit and aesthetic ideal.

Since the 1970s, Wu Guanzhong has become a part-time artist of Chinese painting. He tried to use traditional Chinese materials and tools to express the modern spirit and to explore the innovation of Chinese painting.
 

（Other works of the author）

In "Cultivation and Dedication -- Wu Guanzhong's Donated works" held by The National Art Museum of China in 2009, the image of lu Xun, lu Xun's spiritual father, appears symbiosis with weeds in his work "Weeds". Wu Guanzhong once said, "I admire Lu Xun very much. I once said that 300 Qi Baishi could not compare with one Lu Xun. At that time, many people attacked qi Baishi and Lu Xun. I'm talking about social functioning. Without Lu Xun, Chinese bones would be much softer.
 

（Other works of the author）

 
Wu Guanzhong wrote his thoughts on fine arts for many years into articles such as "The Formal Beauty of Painting", "Plastic Art cannot be separated from the Beauty of human body" and "On abstract Beauty", systematically expounded his own views, and proposed to fight a "art liberation war to create a new style".
 
In 1992, Wu Guanzhong's "Pen and Ink is Equal to Zero" was published in Ming Pao Weekly and aroused wide attention in the art circle.
 
In 2010, Wu donated another five paintings in ink and wash to the Hong Kong Museum of Art for permanent collection. According to the museum, the five paintings awarded to the MUSEUM are all ink and wash works. The other is "Zhu Yan Not changed", which was created in 2001.
 
In September 2006, he donated his oil painting "The Yangtze River in 1974" and his ink paintings "Jiang Cun" and "Pomegranate" to the National Palace Museum for permanent collection. The 87-year-old Wu guanzhong donated another work in his life. On August 27, was held in the national Palace Museum gate square "dedication - wu guanzhong works" in 1974, the Yangtze river "and so on to the national free donation ceremony and wu guanzhong donated works exhibition  ceremony" calendar year, vice minister of culture, the national Palace Museum director zheng xinmiao by the minister of culture sun jiazheng, entrusted to the wu guanzhong on behalf of the ministry of culture awarded donation certificate, China  of party secretary zhen-min hu and party member Feng Yuan and famous painters Huang Miaozi, Yuan Yunfu attendance, such as zheng xinmiao, Feng Yuan has delivered a speech. Sponsored by the Ministry of Culture, undertaken by the Palace Museum, and co-organized by the China  of Literary and Art Circles, The Chinese Association of Artists, and the National Art Museum of China, "Dedication -- Collection of Wu Guanzhong's works donated over the years" was also inaugurated at the Meridian Gate Tower of the Palace Museum.

The Yangtze River, 1974, is one of wu's most legendary paintings. The painting is 603 cm long and 19.5 cm high. It is a long scroll of oil painting on paper. It was reported that the renovation of the Beijing Hotel in 1974 required the creation of a large-scale mural, which was planned to take the Three Gorges of the Yangtze River as the theme. Several artists, including Huang Yongyu and Yuan Yunfu, received the assignment, and Wu Guanzhong, 55, was also transferred back from the countryside. They spent three months sketching on the Yangtze River, a journey of more than 10,000 miles. However, influenced by the "incident of criticizing black painting", wu Guanzhong finally failed in his creation. He drew a painting based on the sketching materials, and as it was the draft, he drew it on the paper. After that, Wu guanzhong moved several times, and the painting was gradually forgotten. It was not until the Spring Festival of 2004 that Wu Guanzhong's eldest son, Wu Keyu, came back from Singapore and found an old envelope in an idle drawer under the bed. There was a scroll of oil painting without signature or title in it. He took the painting and went to ask his father, only to find out that it was the "1974 · Yangtze River" which was thought to have been lost for many years. Thirty years later, the back of the paper was yellow and brittle, but the picture was intact and the oil color was especially fresh. Later, the long scroll was carefully mounted by Zhang Shidong, a friend of Wu's and a framer.

Compared with "the Yangtze River in 1974", wu guanzhong donated two other ink works "Jiang Cun" and "Pomegranate", which have been exhibited in Paris and Hong Kong, and remain in Singapore, are typical works of "Wu's workshop". Created in 1991, Jiang Cun depicts the scenery of Li Jiang Village, a mountain col in Dazu River in northern Sichuan province. The picture is mainly composed of black geometry. The silver-gray sloping bank around the village and the wave-light line on the river are the sustains and comforts of Wu Guanzhong's township. Pomegranate was created in 1992. Wu guanzhong has an unforgettable memory of pomegranates that were sent to Li Village, Shoulu County, Hebei Province. In the picture, the ink branches cross, straight line, arc, contraction, radiation, try to give play to the volume of the line, the full fruit express the fullness of life and infinite.