Study On Style Of Western Figure Paintings Of Shanghai In Early Twentieth Century

According to the different style, the writer takes western figure paintings frompainters performed in Shanghai in early twentieth century as the research object,explores the artistic value of western figure paintings in this period and important rolein the introduction of western painting. This dissertation attempts to sort out andanalyzes western figure paintings in this historical period from multi-angle, clarifiesthe context of figure paintings, and takes social and cultural background intoconsideration. In early twentieth century, there were two major categories of westernfigure paintings in Shanghai: One is the "Realism of western figurepaintings", another is "Modernism of western figure paintings".The "Realism of western figure paintings" in accordance with the methods ofexpression is classified as:1. figure paintings to capture the object’s instantimpression by means of reproduce the object;2. traditional realistic figure paintingstressing "unity of form and spirit" based on objective description;3. figure paintingsstarting from the western realistic painting, combined with Chinese aestheticstandards of traditional art and brushwork of Chinese painting. The "Modernism ofwestern figure paintings" in accordance with the methods of expression is classifiedas:1. figure paintings of Fauvism and Expressionism that paid attention to color effectitself and decorative interest or spirit;2. Post Impressionism, Cubism figure paintingsthat put objects into geometric shapes or split and reorganized them;3. figurepaintings of Shanghai "Paris school" and Surrealism to describe the reality bydeformation and exaggeration or romantic color or highlight person subconsciousactivities. These styles of figure paintings of Shanghai in the early twentieth centuryoften appeared alternately, been popular or coexisted at the same time, constituted theearly prosperity of western paintings.Innovation of this dissertation lies in research methods. Starting from thepainter’s point of view, writer not only analyzes the social and culture background oftransformation of Chinese western figure paintings in early twentieth century, but alsoelaborately analyzes composition, color, figures, from the practice angle, dependingon a lot of precious images on published materials at that time. Through analysis oficonography, writer explains significance of figure paintings in the social context. The first chapter introduces the research purpose and significance, domestic andinternational research situation as well as the main research content. The secondchapter describes the historical status and reasons of Shanghai became the originatorof western painting and the role or influence of T’ou-se-we painting studio as thefoundation or cradle of the western painting in China. In early twentieth century, theartists responded to the introduction of western painting with their respective effortsand unique understanding constantly. Realism and Modernism got the respectivedevelopment in inclusive social environment of Shanghai. Modernism that afterImpressionism performed rapidly in a short span of ten or twenty years. Besides thetraditional realistic style at that time, various kinds of Modernism appeared. Due tothe differences in experience and artistic understanding of the study in Japan andEuropean, it formed two schools in fact. The third chapter points out the introductionof "Realism" for China, mainly gave means to Chinese western painters to express thereal life and society. But it is not entirely westernized mechanically, it alsoconsciously combined with aesthetic standards of Chinese traditional art and Chinatraditional painting brushwork to explore Chinese realistic expression. Realismpainting is undoubtedly maximized social reaction, both in expression of the existenceand hope of the public or reflect suffering and fighting back in the war of Chinesepeople. Its charm lies in the tight link with the times. Realistic methods of westernpaintings, not only is the language choice of art, but also let the western paintings toassume education function. The fourth chapter analyzes the description of thecharacters of "Modernism". It weakened figure, stressed color or composition andpaid attention to the expression of artistic characteristics and emotion of author. In theearly twentieth century,"Modernism" is gradually prosperous in Europe, through theart students studied in Japan and European, also began to be introduced in China. Onthe basis of geographical advantages and influence of culture, Shanghai becamecradle of "Modernism" in China. Although the "modernist" under unfavorableconditions, its introduction and Chinese "integrity" still provides diversity for styles ofwestern paintings."Modernism" through three main forces in early twentieth centuryof Shanghai to spread: Liu Haisu advocate Fauvism Modernism in Shanghai fine artsschool later period, with the help of the school and many students, vigorouslypublicize Modernism in Shanghai. Based on the National Academy of art,"art movement society" took geographical advantage of Shanghai to hold exhibitions toexpand its influence, represented modern paintings that absorb anything andeverything to reconcile Chinese and western."Storm society " and later "Chinese ArtIndependent society", in some extent can be regarded as its continuation, representedthe mass painting force of the Modernism from the beginning of formation. The fifthchapter points out that method of " Draw from nature" is the most critical andcomplete revolution of the spread of western paintings in early twentieth century. Itcompletely changed learning method of western paintings, advocated to find the truthand beauty of nature with artists’ own eyes. Method of " Draw from nature " put itselfas orthodox in learning of western paintings in short time. One branch of it continueto follow the existing path and became "Realism". Another branch of method of "Draw from nature ", through stripping image to some extent and paying attention tocolor, form and expression of subjective emotion, explored new styles of"Modernism" in western paintings. Debate about "confusion" during the first sessionof National Fine Arts Exhibition between Xu Beihong and Xu Zhimo was the artdebate between Realism and Modernism, deepen the understanding of westernpaintings objectively. Conflict between "Realism" and "Modernism" in fact refered tothe transformation and fusion of eastern and western art respectively. They only havedifference in the art form. Both two were aware of importance through learning skillsfrom western paintings and absorbing nutrition from the spirit of national culture, tobuild a unique style of the figure paintings.It formed an important Shanghai period in the early twentieth century of westernpaintings’ history in China and provided a more relaxed atmosphere for the diversityof western paintings. The coexistence of Realism and Modernism shown the earlyartists’ persistent and unremitting efforts and exploration. They consciously aware ofthe necessity to integrate the traditional Chinese arts. To be fully inclusive andequitable to arts or to be sensitive to new things is what we need in today’s artisticattitude. Diversification of the aesthetic values on western figure paintings andabsorption or integrity issues behind inherent cultural differences are consistent withthe inclusive spirit of Shanghai.