The Research Of Western Painting Creations Of Chinese Female Artists Studied In Europe During Period Of Republic Of China

The topic of this paper is about "The Research of Chinese Female Artists studied in Europe during the Period of the Republic of China". And the main research object is the works of those female artists in Europe from 1920 s to 1940 s which can also be regarded as a historical observation for our local Western paintings in the early twentieth Century. Female western painters who keep pace with the trend of the times, go to western countries and learn from native paintings. They keep researching both traditional western realism and modern expressionism painting style and put them into practice. At the same time, many Chinese cultural elements had been penetrated into their western paintings which set the solid foundation for Chinese modern art on "fusion of East and west". Meanwhile, as the participants and beneficiaries of Chinese women’s liberation movement, the art creation of those Chinese female painters in Europe includes both female perspective and perception sense, which carries unique academic value and social significance. Due to changes of the times, the war and many other factors, very few artistic achievements of those female painters were known by the public. It seems their great works were covered by many historical problems and it is just like "amnesia" for art history. Therefore, it is necessary to emphasize the significance and value of this group.The first chapter is "The form of Chinese female western painters in Europe". By systematically analyzing the changing process and performance of China local western paintings between the end of nineteenth Century and early twentieth Century, this chapter reviews and deep analyzes the root cause of the formation for those Chinese female western painters in Europe. The second chapter is about “The realism painting style of the Chinese female painters in Europe”. This chapter focuses on the enlightenment and education for realism painting style accepted by this group both domestically and in foreign countries. And based on such background introduction, this paper could better interpret those female painters’ specific performance in Western painting practice by using realism expressing method. The third chapter is on “The Expressionism painting style of the Chinese female painters in Europe". Compared with the former chapter, this chapter first explains the resonance effect in China raised by Expressionism painting during the early twentieth Century. Then it emphatically analyzes why those Chinese female western painters in Europe tend to involve Expressionism style into their creation. The fourth chapter is on "The Expressionism painting style with Chinese cultural elements of Chinese female painters in Europe ". It is stated at the beginning of this chapter that whether those female western artists in Europe adhere to the classical realistic painting style, or they try to extend modern expressionism style, they would consciously absorb the Chinese cultural factors in their respective Western painting practices. On this basis, this chapter concentrates on the three forms of painting method they used to involve Chinese traditional elements into their paintings. The fifth chapter is “the contemporary thinking of female western painting art" and focuses on some extensive topics to be further discussed.Since early twentieth Century, the practice of Western localization has become an important issue of modern Chinese art. But with the outbreak of the Anti- Japanese War, the development pace of Western localization was out of order. The main painting topic was changed to express national crises which was completely realism painting style. Meanwhile the painting theme which shows personal experience of exploring Western localization became out of times. But as representative of the population of female art, those Chinese female western painters in Europe still adhere to expressing their individual concern on history and culture in creation, with their unique female consciousness feature. Therefore, this paper tries to combine such unique expression pattern of those female artists with Chinese local pattern of geo cultural features, which could be regarded as induction to the female exploration on Western painting localization. And by deep analyzing several Chinese female western artists’ specific practice in Europe for Western painting localization, the achievements of those female artists could provide some enlightenment to Chinese contemporary female about easel painting which is still in the stage of development. Also they can help to improve Chinese modern paintings based on western culture in various aspects.