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Wu Guanzhong

Wu Guanzhong's Portrait of Madam Zhu Biqin

Wu Guanzhong's Portrait of Madam Zhu Biqin

Ms. Zhu Biqin was born in Chenzhou, Hunan in 1925 and graduated from Chongqing Women's Normal College. She met Wu Guanzhong in 1942. In 1946, she married Wu Guanzhong who was about to study in France. After marriage, they had three sons, including Wu Keyu. After Wu Guanzhong returned from France in 1950, Zhu Biqin came to Beijing and worked in the primary school affiliated to Tsinghua University, Beijing Art Normal College, and the Institute of Fine Arts of the Chinese Academy of Arts. She retired from the Institute of Fine Arts of the Chinese Academy of Arts. People's Daily Online, Beijing, October 27. According to the official website of Baiyaxuan Art Institution, at 5 am on October 23, 2011, Ms. Zhu Biqin, the wife of Mr. Wu Guanzhong, passed away at the age of 86. Wu Guanzhong was painting on the top of Huangshan Mountain, which was in a storm. His wife stood behind him, silently holding an umbrella for him... Many years later, she suffered from Alzheimer's disease and was always afraid that the gas was not turned off properly, so she went to the kitchen to turn the gas on and off. Wu Guanzhong followed her. When she turned on the phone, he turned it off. He never complained. In fact, love is not about being under the moonlight, but about sharing the hardships and daily necessities! (I wonder how many people were moved by this photo?).

The Old Man Who Resisted the British - Dawa Dunzhu, oil on canvas, 1961

"Tibetan Youth" Oil painting 36×28cm 1960

Laundry 1959

"Laundry Song" 30×30cm Oil painting on wood panel

Beijing Department Store 1958

Repairing the Net 1958

Rice Planting 1959

Hainan Island 1961

A corner of the People's Congress of Ranniao District 1961

Wu Guanzhong, Ranniao District Primary School, 1961

Snow Sweeping 1956

Wu Guanzhong Reclaiming Wasteland in 1960

Wu Guanzhong's 1961 painting Welcoming Universal Suffrage

Wu Guanzhong: Mountains Give Way 1961

Livestock 1957

Mill

Millstone Painted in 1980 Millstones like this can be seen everywhere in villages and alleys in the north. They are always the same in the wind and rain. But they are outdated and gradually lose their use value. Only the old people always miss their achievements with tenderness. In addition, there are painters who love them, but painters do not love all millstones. They often only love millstones in certain environmental conditions. This millstone is located in a small mountain village in Shidu, a suburb of Beijing, leaning against the gable of a family. The wide and thick millstone is in an arc shape, which fits the herringbone shape of the roof. This embrace occupies the entire picture - the entire universe, forming a unity in itself. The millstone is round and the window is square. They are close to each other, asking and answering each other through time. They are of similar size, but one is round and the other is square, with very different personalities. The millstone and the gable are large, and the millstone and the window are small. There is a harmonious proportion between the size of father and son, mother and daughter. The gable is square, and the window is even squarer, with more small squares in the window pane.The "square" of the wooden frame on the millstone seems to intentionally echo the "square", and the clustered stones on the gable seem to intentionally echo the "circle", and the echo of square and circle interweaves the upper and lower halves of the picture. This painting has not been randomly moved and combined. I just discovered the essential beauty of this ordinary people's home: the tacit understanding of square and circle. The two simplest elements constitute a timeless painting. A boy and a girl sang the "Little Cowherd" loved by the fellow villagers. Before painting, I only struggled to push the millstone to the position in the picture so that she could whisper with the window. Inscription on the painting: Weight, used for thousands of years. Today, I am idle and abandoned on the side of the old wall. Who cares about the world today and in the past. Fortunately, I am accompanied by a small window, square and round, and the two are happy. "Literary Mind and Painting Eye" Wu Guanzhong in 1980

"Lhasa Family" 1961

Front door 1960

Wu Guanzhong painted Shoton Festival in 1961

Wu Guanzhong: Festivals in Lhasa

Wu Guanzhong, Two Tibetans, watercolor on paper

Wu Guanzhong-Jokhang Temple-46×61

Tang Dynasty Sculpture of Foguang Temple, Mount Wutai, 1954

Zhamu Bridge (1961)

"Mending the Sky" Oil on linen, 1992, 60x73cm

Patching the Sky (I) During my art education, I spent the first half of my life painting human bodies. Since the Greek and Roman periods, the main subject of Western plastic arts has been human bodies. Therefore, human body works of different eras reflect the changes in people’s aesthetics. During the Cultural Revolution, the goddess of beauty in art became a demon. All my human body works, including oil paintings, sketches, and photos of my works, were burned. I survived in the chaotic world and could not be called an artist. In the 1990s, I learned from my mistakes and missed my human body works. My love for human bodies was gone forever. I finally borrowed a classroom from the Central Academy of Arts and Crafts and hired models to repaint human bodies for a month. They were like students attending classes or me teaching classes. They were not late every day. My graduate student Zhong Shuheng also accompanied me to paint. The old views of the Paris era and the teachings of Professor Su Fuerpi seemed to be revived in front of the female body. However, these concepts learned in the classroom were integrated with the feelings of decades of landscape creation. It was a landscape human body. What I saw in the human body was the confrontation of mountains and the rush of rivers, which was the smoothness of life in nature.Many years ago, when I was teaching students who were sketching Taihu stones in Suzhou, I used the composition of the human body to reveal the life of the stone, and the stone also revealed the natural spirit of the human body. After painting a group of human bodies, one day, I suddenly thought of Nuwa. Nuwa should be naked. Nuwa wanted to repair the sky. What material did she use to repair the sky? She only had a naked body, so she used her body to repair the sky. She opened her arms and let down her thick black hair. The open arms and the hanging black hair formed a big cross. She was Jesus. Repairing the sky in 1992 (Part 2) To explain the beginning of mankind, the West created the myth of "Noah's Ark", and the East sculpted the great man Nuwa who repaired the sky. I also painted Nuwa, a naked woman from behind, with her arms open as if holding up the sky. It is too concrete. The elephant is invisible. Can a human figure repair the sky? This is a lie, or just a beautiful fairy tale. A hazy feeling, a desire to stand tall and proud, an unyielding spirit in the darkness... I wander in the primitive universe of black, white and gray, trying to support this boundless and directionless sky on my own. When the painting is finished, I feel that I am directing the sky, I am mending the sky, I am Nuwa. Wu Guanzhong's "Literary Eyes of Painting" in 2000

A Thousand Years of Conception Creates a Literary World (Ancient Rhythm and New Tune Series) 54×73cm

Oil painting on linen, 1996, Singapore Art Museum Collection

Guanyin, the Goddess of Childbearing, painted by Wu Guanzhong in 1994

This is a unique masterpiece painted by Wu Guanzhong in 1994. Since the 1950s, influenced by the times, Wu Guanzhong's creation has shifted from the figures he originally valued to landscapes. The reason is just as he said in some of his memoirs. He introduced Western modern paintings in teaching and preached his personal artistic views, which was inappropriate and criticized. His figure paintings were criticized as "ugly workers, peasants and soldiers". Therefore, among his handed down works, figure works are rare and precious, and the materials of figure works are mainly early Tibetans and late human bodies. This work is based on the theme of Dong Wanggong and the Goddess of Childbirth. Chinese artistic conception and national aesthetic spirit are integrated into the oil painting, and it is reflected very harmoniously on the picture. It can be said to be a unique piece in Wu Guanzhong's works. Wu Guanzhong has a famous "kite line" theory. His creation is never separated from life, and both figures and landscapes are attached great importance to sketching. Although this work depicts an imaginary god, it is still inseparable from the artist's daily visual experience and life experience. The characters are inspired by folk art and appear to be friendly and simple, like the grandparents next door. As a work created when Wu Guanzhong was 75 years old, this work reveals many characteristics of his late style transformation - the image is refined and concise, the brushwork is simple and majestic, the colors are rich and thick, the rich imagery formed by the contrast of color blocks, and more emphasis is placed on the rhythm, rhyme and beauty of the form.

Wu Guanzhong Chu State Brother and Sister-42×32-Oil on Canvas-1990

Brothers and Sisters of Chu, 1990

If a child doesn't know where Denmark is, tell him that it is in Andersen's house, and the child will understand. Where is the State of Chu? On the Miluo River where Qu Yuan drowned himself. Looking out at the vast Chu sky, Mao Zedong is swimming leisurely in the Chu River, and the entire Chu sky is just his guard. The rolling eastward water, the past mountains and rivers, and the wars are all displayed before our eyes, and it is difficult for today's subjects to find a place to stand. I came to Jingzhou, entered the State of Chu, and looked for the elders of the State of Chu. The uncorrupted corpse is a real Chu person, naked, and his flesh is no different from our flesh. I went to the collection cabinet of the museum to find various wooden figurines. Colored wooden figurines, you can build the world of Chu's little people yourself. There are no fat female figurines, and the saying that the Chu people like thin waists is probably true. I found a bald and tall man with a variety of clothes and not vulgar, and he is friendly to people. If you ask him something, he will tell you something new. I was pleasantly surprised to find a beautiful young girl hiding behind the crowd. She had long hair, which was the fashion of the day. Unfortunately, her arms were broken, and she became an oriental Venus. I thought for a long time, and it is really difficult to fill these broken arms. Beauty is a complete concept, which can be broken but not repaired. The so-called imperfect beauty leaves people with a fresh spirituality. It doesn't matter if something is missing, and don't add unnecessary details.

I captured the lively appearance of the three Chu people and talked with them, in the yellow desert of the Chu territory, as the sun set. They were so real that my feelings were closely attached to their expressions. The painting was completed and named Chu Brothers and Sisters.

2006 Literary Mind and Painting Eyes

Wu Guanzhong's Night Banquet: A Thousand Years Ago

Night Dance, 1994

Indian Women, 1987

Indonesian Style 1995

World Art Selection