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1、北师大高中英语必修二unit6 lesson1 同步素材之一Biography of Xu BeihongXu Beihong(1895-1953), born in Yixing, Jiangsu Province, studied painting with his fathers instruction when he was young. He went to Japan in 1917 and worked as a supervisor of the Painting Institute of Peking University as he came back. Then in 1
2、919 he entered the Paris Higher Art School and taught in the Flameng studio and learned from Da Yang for eight years. He worked as professor of the Central University, president of the State Beiping Art Training School, dean of the Central Academy of fine Art and chairman of the All China Artists As
3、sociation.BiographyXu began studying classic Chinese works and calligraphy with his father Xu Dazhang when he was six, and Chinese painting when he was nine. In 1915, he moved to Shanghai, where he made a living off commercial and private work. He traveled to Tokyo in 1917 to study arts. When he ret
4、urned to China, he began to teach at Peking Universitys Arts school at the invitation of Cai Yuanpei. Beginning in 1919, Xu studied overseas in Paris at the cole Nationale Suprieure des Beaux-Arts, where he studied oil painting and drawing. His travels around Western Europe allowed him to observe an
5、d imitate Western art techniques. He came back to China in 1927 and, from 1927 to 1929, gained a number of posts at institutions in China, including teaching at National Central University (now Nanjing University) in the former capital city Nanjing.In 1933, Xu organized an exhibition of modern Chine
6、se painting that traveled to France, Germany, Belgium, Italy, and the Soviet Union. During World War II, Xu traveled to Southeast Asia, holding exhibitions in Singapore and India. All the proceeds from these exhibitions went to Chinese people who were suffering as a result of the war.After the found
7、ing of the Peoples Republic of China in 1949, Xu became president of the Central Academy of Fine Arts and chairman of the Chinese Artists Association.Xu Beihong was a master of both oils and Chinese ink. Most of his works, however, were in the Chinese traditional style. In his efforts to create a ne
8、w form of national art, he combined Chinese brush and ink techniques with Western perspective and methods of composition. He integrated firm and bold brush strokes with the precise delineation of form. As an art teacher, he advocated the subordination of technique to artistic conception and emphasiz
9、es the importance of the artists experiences in life. Of all of the Painters of the modern era, it can be safely said that Xu is the one painter most responsible for the direction taken in the modern Chinese Art world. The policies enacted by Xu at the beginning of the Communist Era continue to cont
10、rol not only official Government Policy towards the arts, but they continue to direct the overall direction taken in the various Art Colleges and Universities throughout China.Xu enjoyed massive support from art collectors across Asia. Between 1939 and 1941, he held solo exhibitions in in Singapore,
11、 India and Malaya (Penang, Kuala Lumpur and Ipoh) to help raise funds for the war relief effort in China. In one war benefit exhibition in March 1939, Xu held a group exhibition with Chinese ink painting masters Ren Bonian and Qi Baishi, and showcased 171 works of art at the Victoria Memorial Hall.H
12、e also met luminaries such as Rabindranath Tagore and Mahatma Gandhi during his stay in India, and got his sources of inspiration which led to the creation of iconic works such as the 4.21m-wide The Foolish Old Man Who Removed the Mountains painting on show at SAM. Artworks like After a Poem of the
13、Six Dynasties, Portrait of Ms Jenny and Put Down Your Whip were also created during his sojourns in Southeast Asia. SAM Director Kwok Kian Chow mentioned that Xus name tops the list in Asian modern realism art, and his connections with various parts of Asia and Europe opened a new chapter of histori
14、cal narratives, exchanges and influences of aesthetics and ideas in art.Xu constantly pushed the boundaries of visual art with new techniques and international aesthetics, in bid to reinvent Chinese art. In fact, Xus influence extends beyond China in the early 20th-century. Many pioneer Singapore ar
15、tists such as Chen Wen Hsi, Lee Man Fong and Chen Chong Swee looked up to him as a mentor and a worthy peer, sharing Xus advocate to closely observe nature and inject realism into Chinese painting.Xu devoted his life to the renovation of Chinese painting with the realism in the Western painting. In
16、1918 he advocated that the great pieces of the traditional paintings should be kept, inherited, developed and combined with the western skills. He went on with his portrait paintings and advocated the movement of revitalizing the Chinese art. He is an influencial painter, educator, art activist and art renovator. His sketch paintings are as good as the masters in the west. Canvas like Five Hundred Soldiers Lying in the Field and Jeering Behind Me are his mas
