颜文梁

 颜文梁(1893-1988)，中国油画家、美术教育家;江苏苏州人;1893年7月20日生于江苏苏州，1988年5月1日卒于上海。

颜文梁出生于苏州的一个美术世家，八岁开始学画，少年时代曾留学日本。

1922年创办了苏州美术专科学校，是中国最早成立的美术学府之一。

1927年留学法国，1928年到1931年就读于法国巴黎高等美术学校，是早期留学欧洲的油画先驱者之一。

1931年回国后继续任苏州美术专科学校校长。

1952年起历任浙江美术学院副院长兼教授，中国美术家协会顾问及上海分会副主席;他是首位获得国际性绘画大奖(巴黎艺术沙龙1928年，参展作品为《厨房》)的中国画家;颜文梁在法期间的很多油画作品已经被认为达到了当时欧洲一些当代印象派大师的水平。

回国后的60多年间从未间断过油画创作，即使是在无比艰难的岁月里;早年他的作品注重透视与构图，中年后对光色明暗变化进行深入研究，到了晚年，他的作品色彩绚丽多变;他一生对中国美术教育事业的杰出贡献，将永远载入史册，他留下的无数杰作将永远为祖国艺术宝库中的珍品。

根据国家文物局就公布的《1949年后已故著名书画家作品限制出境鉴定标准》，颜文梁的作品原则上不准出境。原则上不准出境的书画家名单一共25人。

颜文梁

 颜文梁自幼从父(颜纯生，名元，号半聋居士)学习中国花鸟画，后从师学习水彩画。

6岁开始读私塾。

12岁开始临摹《芥子园画传》。

16岁时考入上海商务印书馆学习刻印、制版和印刷技术，后转入图画室学习西画。

1912年辞工回苏州，专心学习绘画。自行试制油画颜料创作出第一幅油画《石湖串月》。

1913年开始任小学教员。

1916年任吴江中学图画教员。

1918年兼任苏州第二女子师范学校图画教员。

1919年发起组织苏州美术赛画会，为我国现代美术史上第一个全国性的美术展览会--美术画赛会，以"提倡画术、互相策励、仅资浏览、不加评判"为宗旨，以非抄袭或临摹前任之作为标准，征集当代画家作品陈列，每次展览两星期，前后坚持了20年，作品从一二百件增加到二三千件。

1920年创作出色粉画《厨房》(本馆藏)，标志着他早期创作的成熟，该画于1929年获法国春季沙龙荣誉奖。

1922年与胡粹中、朱士杰创办创办苏州美术专科学校,校舍建在苏州著名古典园林沧浪亭东，至今犹在。

1928年赴法国留学并考察欧洲艺术，在国立巴黎高等美术学校学习，其间创作的风景油画显示了他学习西方油画艺术的收获。在欧期间，他节衣缩食，购置并运回著名雕塑石膏像近五百件，图书万余册，使苏州美专的设备成为全国之冠。

1932年回国，抗日战争时期，学校被迫解散，颜文梁辗转至上海，应在沪学生之请，赁房开办美专沪校，多次拒绝日军要其回苏复校的威胁利诱，表现了民族气节。

抗战胜利后，苏州美专复校，颜文梁仍任苏州美术专科学校校长兼中央大学艺术系代主任，之江大学、上海幼稚师范专科学校教授，往来苏沪之间直至迎接全国解放。

1952年，苏州美专并入华东艺专(现南京艺术学院)，颜文梁调任中央美术学院华东分院(浙江美术学院前身)副院长。教书育人的同时继续致力于油画艺术的研究和创作，"文革"期间曾被迫停 笔。

1984年，油画《枫桥夜泊》获第六届全国美术展览荣誉奖。

1988年5月1日，颜文梁在上海逝世，享年96岁 (生前曾任中国美协上海分会副主席)。

颜文梁

 颜文梁(1893.7.2-1988.5.1) 字栋臣，小名二官。江苏苏州人。著名美术教育家、油画家。其父颜元，民国初年为吴中画苑耆宿。

颜文梁幼承家学，清光绪三十年(公元1904年)，12岁临摹《芥子园画谱》，学习国画。13岁临摹胡三桥画作《钟馗》，吴昌硕见而嘉之，为其题字。入学后转向西洋画。清光绪三十四年秋(公元1908年)，南京南洋劝业会开幕，学校推荐他所作铅笔着色画《苏州火车站》作为佳作陈列。后进上海商务印书馆当学徒，习图画，得到画图室主任、日本西画家松冈正识指导，自此专习西画。父亲颜元前至上海，曾见法国人所画普法战争巨幅油画，场景宏伟，形象真实生动，极力赞之。颜文梁始知有油画之名。然苦无师授。

1912年3月，从父命辞去商务印书馆之职，回苏州专心学画。他立志自习油画，自行试制油画材料临摹西洋油画杂志，所作第一张油画《石湖串月》，即为松香水加鱼油所画。

1913年起，就任多所中小学图画教员。与苏州首富吴子深相识后，两 人一见如故，交谊日笃，终生不渝。吴子深之弟吴秉彝从其学画，后为苏州美专国画教授。1917年，颜文梁为上海来青阁书坊画水彩画风景16幅。来青阁主人杨寿祺即交商务印书馆以三色版彩色印刷，发售后，销行之广，出乎意外。1919年1月，他与人共同发起美术画赛会，征集当代苏州与全国各地中西画家作品陈列，按年举办，历时二十年未间断。粉画材料初入中国，他首以试用于创作，第一张粉画作品为《画室》。此后，相继创作了粉画《厨房》、《肉店》等，成为他早期粉画代表作品。

1922年7月，他创办苏州美术暑期学校。9月改称苏州美术学校。草创伊始，凡百简陋，所需经费均由他于数校兼课所得薪金支付，教员全尽义务。借用苏州县立中学教室，第一期招生13人。学习所用纸笔颜料，均由学生自备。第二年学生增加，又借得三贤祠河南会馆房舍3间，成立西校。并首次招收女生1名，为苏州男女同校之始，开风气之先。

1927年，颜文梁应苏州公益局之聘，任沧浪亭保管员，受命筹设苏州美术馆。沧浪亭为苏州历史名迹，因年久失修，亭园荒废。他接收后，除筹建美术馆外，多余房舍，稍加修葺，由公益局会同教育局拨作美校校址。美校得此良好环境定居，求读学生日众，校务日益扩大，经费益感不足，同学好友多所赞助 。吴子深对他说:"你办学，我出钱。"并慨然出任校董会主席。此后凡校舍修建，购置设备，所需各款项，率由吴子深出资相助。同年秋，与艺术大师徐悲鸿相识，深得徐悲鸿赞赏。经徐悲鸿力促，他于次年赴法国巴黎留学。经法国美术大师达仰推荐，就读于巴黎国立高等美术学校罗朗斯教授门下。1929年3月，以粉画《厨房》、《画室》与油画《苏州瑞光塔》参加巴黎春季沙龙评选，《厨房》得评选委员会荣誉奖。

颜文梁在前往欧洲期间创作了《印度洋夜航》、《越南西贡》等作品，在巴黎时期创作了《巴黎铁塔》、《巴黎圣母院》、《巴黎先贤寺》等油画，并在与刘海粟等人同游意大利期间画了《罗马斗兽场》、《罗马古迹》、《威尼斯水巷》、《威尼斯运河》、《佛罗伦萨广场》、《罗马遗迹》、《威尼斯伯爵宫》、《米兰大寺》、《威尼斯圣保罗教堂》等14幅油画。

他在习画之余，收集美术新旧书籍近4000余册，更立志为苏州美校购置石膏像，先求希腊名作，次及古罗马与文艺复兴诸时代著名杰作。二三年间，共得460余件。随时托运回国。迨其返国，遂于苏州美校辟专室安置，且仍陆续向法、比订购，至抗战前夕，共得500余件，超过当时全国美术学校所有石膏像的总和，质量也称第一。1932年8月，由吴子深独资建设的苏州美校新校落成，采希腊式，列柱拱廊，宏伟宽敞，共50间，其规模为全国美校之冠。10月，教育部批准苏州美校以大专院校立案，正式定名苏州美术专科学校，简称苏州美专。次年秋，应徐悲鸿力邀，兼代南京中央大学美术系主任。

1937年7月抗战开始。10月，日军进逼苏州。颜文梁弃校雇船载师生30余人，乘夜而逃。途中历经艰险，辗转月余，奔窜逃避，最后仅10余人抵上海。苏州美专校舍被日军强占为司令部，教学设备损毁，在沪师生闻之，无不愤慨。流离上海8年期间，颜文梁多次拒绝日本人要其回苏州复校的利诱，在艰难条件下坚持开办苏州美专沪校，并兼任上海之江大学教授。经费拮据，只能售画度日。

抗战胜利后，苏州美专成立复校委员会，他任主任委员，于1945年11月第一次返回苏州美专本校授课。次年1月他率沪校全部专科学生至苏州本校上课，同时兼任上海国立幼稚师范专科学校教授。

中华人民共和国成立后，他参加上海美协。1952年大学院系调整时，调任浙江美术学院副院长兼教授，并任美术家协会华东分会理事，上海分会常务理事、副主席，中国美协理事等;1988年病逝于上海，享年96岁。

出版有《颜文梁画集》、《油画小辑》、《欧游小品》及水彩画集《苏杭风景》等;著有《美术用透视学》、《色彩琐谈》等。

 清末维新变法后，许多青年学子先后赴英、法、日本等国学习西洋油画，而颜文梁就是其中的一员，这些油画家归国后，带来了西方及日本先进的教学方法及理念，如1911年西洋归国的周湘创办了中国第一所美术学校;1912年刘海粟创办上海图画学术院，并第一次起用人体模特写生;1919年任教育总长的蔡元培先生倡导开办了第一所国立美术学校--北京美术学校1927年，中央大学开设艺术科〔徐悲鸿任主任〕 ;1928年杭州创办了第一所大学制的国立艺术院校等。而1922年7月，颜文梁创办苏州美术暑期学校。9月改称苏州美术学校。

颜文梁的油画，长于风景静物。早年手法写实，景色逼真，具有高度的造型技巧。所作《画室》《厨房》《肉店》(色粉画)为中国早期油画色粉画的代表作，其中《厨房》获1929年法国巴黎春季沙龙展荣誉奖。

留学期间接受古典主义和印象主义的影响，作品在结构严谨、手法写实的基础上，又重视描绘外光和色彩的变化。

60年代的作品多注重表现大自然的微妙变化和静谧之美。70年代后期，作品笔触灵活、自然、洒脱，色彩明快。

他的作品构思精巧，刻画真实、细致，色彩明快，善于以西方的表现手法融以民族的精神，具有独特的艺术风格，对透视学、色彩学、解剖学的研究也卓有建树，粉碎"四人帮"后创作激情至老不衰，作品色彩更为丰富绚丽。

颜文梁的作品，倘粗线条地划分一下，可分早期、中期和晚期，早期留学前、晚期文革后。中期，就是介于两者之间了，期间作品很难见到。中期的细腻，晚期的粗放、明快。

颜文梁在生活和工作中是个严谨的人，画如其人同样严谨写实。大师平易近人，十分平民化。文革结束之时，颜文梁已经八十多岁了。八十多岁的老人应该在家颐养天年，颜文梁还经常外出写生与创作。去写生的途中，穿着旧衣服，戴顶草帽。晚年后，颜文梁在作品上的笔触开始粗放，色彩开始明丽，自己有时开玩笑地讲:"有些印象派味道了。"

颜文梁属于中国第一代油画家，被陈丹青成为中国现代美术的"老祖宗"和现代美术教育的开幕人、奠基者。 他绘画风格非常独特，唯美、雅俗共赏，现在市场认可度已经很高。但他的作品几乎没有人为的炒作。市场认可度纯粹来自于画面本身。

折叠作品

《厨房》(1928)、《国庆十周年》(1959)、《石湖串月》(1912)等42件作品现在由苏州美术馆收藏。

《南湖》(1964)、《红海》(1928)、《船厂》(1959)、《英国议会》(1929)等6件作品现在又中国美术馆收藏。

《祖国的脉搏》(1984)由中国美术学院收藏。

《鸦舟》(1982)现藏于龙美术馆(西岸馆)。

折叠著作

颜文梁所著《美术透视学》(1957年上海人民美术出版社出版)

颜文梁所著《色彩琐谈》(1978年由上海人民美术出版社出版)

折叠画册

《颜文梁画集》(1959年上海人民美术出版社出版)

《颜文梁画集》(1985年上海美术出版社出版)

《颜文梁油画集》(2002年上海画报出版社出版)

《沧浪掇英--苏州美专八十六周年纪念专辑》(2009年由中国现代美术出版社刊发)

《颜文梁·现代艺术家，画论、作品、生平》(林文霞)(1982年北京学林出版社出版)

《颜文梁研究》(尚辉)(1993年由江苏美术出版社出版)

 Yan Wenliang (1893-1988), a Chinese oil painter and art educator, was born in Suzhou, Jiangsu Province, on July 20, 1893, and died in Shanghai on May 1, 1988.

Yan Wenliang was born in an art family in Suzhou. He began to learn painting at the age of eight and studied in Japan as a teenager.

In 1922, the Suzhou Academy of Fine Arts was founded, which was one of the earliest establishments in China.

In 1927, he studied in France, and from 1928 to 1931, he studied at the Higher School of Fine Arts in Paris, France. He was one of the pioneers of oil painting in early Europe.

After returning to China in 1931, he continued to be the principal of Suzhou Academy of Fine Arts.

Since 1952, he has been Vice-President and Professor of Zhejiang Academy of Fine Arts, Consultant of China Artists Association and Vice-President of Shanghai Branch; he is the first Chinese painter to win the International Prize for Painting (Paris Art Salon 1928, exhibition works are "Kitchen"); many of Yan Wenliang's oil paintings during France have been considered to have reached Europe at that time. The level of some contemporary Impressionist masters.

Over the past 60 years after returning to China, he has never stopped creating oil paintings, even in the most difficult years; in his early years, his works focused on perspective and composition; in his middle age, he made a thorough study of the changes of light and shade; in his later years, his works are colorful and changeable; his outstanding contribution to the cause of Chinese art education will be forever recorded. In the annals of history, countless masterpieces left behind by him will always be treasures in the art treasure house of the motherland.

Yan Wenliang's works are not allowed to leave the country in principle, according to the Standards for the Identification of the Restricted Exit of the Works of the Deceased Famous Calligraphers and Painters after 1949 published by the State Administration of Cultural Relics. In principle, there are 25 painters and calligraphers who are not allowed to leave the country.

Yan Wenliang learned Chinese flower and bird painting from his father (Yan Chunsheng, Mingyuan, a semi-deaf resident) and watercolor painting from his teacher.

At the age of 6, he began to study in private schools.

At the age of 12, he began to copy the painting biography of Mustard Seed Garden.

At the age of 16, he was admitted to Shanghai Commercial Press to study engraving, plate-making and printing technology, and then transferred to the drawing room to study western painting.

In 1912, he quit his job and returned to Suzhou to study painting. Pilot production of oil paints to create the first oil painting "Stone Lake Crossing the Moon".

He began teaching in elementary schools in 1913.

In 1916, he was a picture teacher in Wujiang Middle School.

In 1918, he was also a drawing teacher in Suzhou No. 2 Women's Normal School.

In 1919, the Suzhou Art Competition was initiated to organize the first national art exhibition in the history of modern art in China, the Art Painting Competition. The purpose of the competition is to promote painting, encourage each other, browse only, without judgment, and to solicit exhibitions of contemporary painters based on the criteria of non-plagiarism or copying of their predecessors for two weeks at a time. For 20 years, the number of works increased from 1,200 to 23,000.

In 1920, he created an excellent pastel painting Kitchen (our collection), which marked the maturity of his early creation. The painting won the French Spring Salon Honorary Award in 1929.

In 1922, he founded the Suzhou Academy of Fine Arts with Hu Zizhong and Zhu Shijie. The school building was built in the east of Canglangting, a famous classical garden in Suzhou, and still exists today.

In 1928, he went to France to study and study European art. He studied at the National Academy of Fine Arts in Paris. During this period, he created landscape oil paintings which showed his achievements in learning western oil painting art. During his stay in Europe, he saved money, purchased and returned nearly 500 famous sculpture gypsum statues and more than 10,000 books, making the equipment of Suzhou Academy of Fine Arts the best in the country.

When Yan Wenliang returned to China in 1932 and was forced to disband during the War of Resistance Against Japan, he traveled to Shanghai. At the invitation of students in Shanghai, he rented a house to open an American college in Shanghai. He repeatedly refused the threat and inducement of the Japanese army to return to the Soviet Union and resume school, thus demonstrating his national integrity.

After the victory of the War of Resistance Against Japanese Aggression, Yan Wenliang was still the president of the Suzhou Academy of Fine Arts and acting director of the Art Department of the Central University. He was a professor of Zhijiang University and Shanghai Kindergarten Teachers College. He traveled between Suzhou and Shanghai until the liberation of the whole country.

In 1952, Suzhou Academy of Fine Arts was merged into East China Academy of Art (now Nanjing Academy of Art). Yan Wenliang was transferred to the Vice President of East China Branch of Central Academy of Fine Arts (formerly Zhejiang Academy of Fine Arts). While teaching and educating people, he continued to devote himself to the research and creation of oil painting art. During the Cultural Revolution, he was forced to stop writing.

In 1984, the oil painting "Maple Bridge Night berth" won the honorary prize of the 6th National Art Exhibition.

On May 1, 1988, Yan Wenliang died in Shanghai at the age of 96 (formerly Vice-Chairman of Shanghai Branch of China Association of Arts).

Yan Wenliang (1893.7.2-1988.5.1) was a minor second official. People from Suzhou, Jiangsu Province. Famous art educator and oil painter. His father, Yan Yuan, was a resident of Wuzhong Painting Garden in the early years of the Republic of China.

Yan Wenliang's youthful inheritance of family studies, 30 years of Qing Guangxu (1904 AD), 12-year-old copy of the Mustard Garden Painting Spectrum, learning Chinese painting. At the age of 13, Wu Changshuo wrote a copy of Hu Sanqiao's painting Zhongkui. After entering school, he turned to Western painting. In the autumn of 1908, the Nanyang Exercise Conference opened in Nanjing. The school recommended his pencil-colored painting "Suzhou Railway Station" for display. As an apprentice at the Shanghai Commercial Press, he studied painting. He was guided by the director of the drawing room and Japanese Western painter Matsuoka. From then on, he specialized in Western painting. His father, Yan Yuan, went to Shanghai before the year of Yuan Dynasty. He once saw a huge painting of the Franco-Prussian War painted by the French. The scene was magnificent, the image was real and vivid, and he strongly praised it. Yan Wenliang first knew the name of oil painting. But there is no teacher to teach.

In March 1912, he resigned from his father's office as a commercial press and returned to Suzhou to study painting. He was determined to study oil painting himself, to produce oil painting materials and to copy Western oil painting magazines. His first oil painting, Stone Lake string moon, was painted by fish oil and pine perfume.

Since 1913, he has been a picture teacher in many primary and secondary schools. After meeting Wu Zishen, the richest man in Suzhou, they met each other as usual, and they had a long friendship and remained unchanged all their lives. Wu Bingyi, Wu Zishen's younger brother, learned painting from him and later became a professor of traditional Chinese painting at Suzhou Academy of Fine Arts. In 1917, Yan Wenliang painted 16 watercolor scenes for Laiqingge Bookstore in Shanghai. Yang Shouqi, the owner of Laiqing Pavilion, handed over to the Commercial Press for three-color printing. After the sale, the wide marketing was unexpected. In January 1919, he co-sponsored the Art Competition to collect works of contemporary Chinese and Western painters from Suzhou and all over the country, which lasted 20 years without interruption. When the materials of pastel painting first entered China, he tried to create it. The first pastel painting was "Studio". Since then, he has successively created "kitchen" and "butcher shop" as his early representative works of pink painting.

In July 1922, he founded Suzhou Fine Arts Summer School. In September, it was renamed the Suzhou School of Fine Arts. At the beginning of the drafting, all the expenses needed were paid by his salary from several schools, and the teachers were fully obligated to do their part-time work. In the first phase, 13 students were enrolled by borrowing the classrooms of Suzhou County Middle School. The paper and pen pigments used in the study are provided by the students themselves. In the second year, the number of students increased, and three rooms of the Henan Guild Hall of Sanxian Temple were borrowed to set up the Western School. And for the first time, one female student was enrolled. It was the beginning of coeducation in Suzhou, and it was the first to open up the atmosphere.

In 1927, Yan Wenliang was appointed by the Suzhou Public Welfare Bureau as the custodian of Canglangting and was ordered to set up the Suzhou Art Museum. Canglang Pavilion is a historic site in Suzhou. Because of its disrepair for a long time, the pavilion garden is abandoned. After his acceptance, in addition to preparing for the construction of art galleries, the redundant buildings were repaired slightly, and the public welfare bureau and the Education Bureau allocated the site of the school. American schools have settled down in such a good environment, with more and more students seeking to study, the school affairs are expanding day by day, the sense of financial benefit is insufficient, and many students and friends sponsor it. Wu Zishen said to him, "If you run a school, I will pay for it." "He was also the president of the school board. Since then, Wu Zishen has contributed to the construction and purchase of school buildings and equipment. In the autumn of the same year, he met Xu Beihong, a master of art, and was deeply appreciated by Xu Beihong. Xu Beihong urged him to study in Paris the following year. Recommended by French art master Da Yang, he studied under Professor Laurence of the National Academy of Fine Arts in Paris. In March 1929, he participated in the Paris Spring Salon Selection with the painting "Kitchen", "Studio" and the oil painting "Ruiguang Tower of Suzhou", and "Kitchen" won the honorary award of the Selection Committee.

During his trip to Europe, Yan Wenliang created works such as "Night Voyage in the Indian Ocean" and "Saigon in Vietnam". In Paris, he created oil paintings such as "The Tower of Paris", "Notre Dame de Paris" and "Paris Ancient Lady Temple". He also painted "The Colosseum of Rome", "Roman Monuments" and "Wei" while traveling with Liu Haisu and others in Italy. Fourteen paintings, including the Water Lane of Nice, the Canal of Venice, the Plaza de Florence, the Roman Heritage, the Earl Palace of Venice, the Grand Temple of Milan and the Cathedral of St. Paul in Venice.

In his spare time, he collected more than 4,000 new and old art books. He was determined to buy gypsum statues for Suzhou School of Fine Arts. He first sought Greek masterpieces, and then famous works of ancient Rome and Renaissance. In two or three years, there were more than 460 pieces. Check back at any time. When he returned home, he set up a special office in Suzhou Art School and ordered more than 500 plaster statues from France and Bibi one after another. By the eve of the Anti-Japanese War, the total number of plaster statues was more than the sum of all the plaster statues in the National Art School at that time, and the quality was also called the first. In August 1932, a new Suzhou School of Fine Arts, which was built by Wu Zishen and was solely owned by Wu Zishen, was built in Greek style, with columns and arcades. It is magnificent and spacious, totaling 50. Its scale is the top of the National School of Fine Arts. In October, the Ministry of Education approved the establishment of Suzhou Academy of Fine Arts as a college, formally named Suzhou Academy of Fine Arts, referred to as Suzhou Academy of Fine Arts. The following autumn, at the invitation of Xu Beihong, he was also the chairman of the Department of Fine Arts of Nanjing Central University.

The Anti-Japanese War began in July 1937. In October, Japanese troops marched into Suzhou. Yan Wenliang abandoned school and hired more than 30 teachers and students to flee by night. In the end, only 10 people arrived in Shanghai. The school building of Suzhou American College was occupied by the Japanese army as the headquarters, and the teaching equipment was damaged. Teachers and students in Shanghai were indignant when they heard about it. During his eight-year exile from Shanghai, Yan Wenliang repeatedly refused the temptation of the Japanese to return to Suzhou for re-education, insisted on setting up Shanghai University of Suzhou American College under difficult conditions, and also served as a professor of Shanghai Zhijiang University. Money is tight, so you can only sell pictures for a living.

After the victory of the War of Resistance Against Japanese Aggression, Suzhou American College set up a revision committee. He served as chairman and returned to Suzhou American College for the first time in November 1945 to teach. In January of the next year, he led all the students from Shanghai University to attend classes in Suzhou, and also served as a professor of Shanghai National Kindergarten Teachers College.

After the founding of the People's Republic of China, he joined the Shanghai Artistic Association. In 1952, when the Faculty of the University was adjusted, he was transferred to the Vice-Dean and professor of Zhejiang Academy of Fine Arts and served as the director of East China Branch of the Artists Association, the executive director and vice-chairman of Shanghai Branch and the director of China Association of Fine Arts. He died of illness in Shanghai in 1988 at the age of 96.

He has published Yan Wenliang's Painting Collection, Oil Painting Collection, Ou You's Essays and Watercolor Painting Collection Su Hang Landscape, etc. He has also published Perspectives for Fine Arts and Trivial Talks on Colors, etc.

After the Reformation in the late Qing Dynasty, many young students went to Britain, France, Japan and other countries to study Western oil painting, and Yan Wenliang was one of them. When these oil painters returned home, they brought advanced teaching methods and concepts from the West and Japan, such as Zhou Xiang, who returned home from the West in 1911, who founded the first art school in China in 1912. Su founded Shanghai Academy of Graphics, and for the first time used body models to sketch; Cai Yuanpei, the president of education in 1919, advocated the establishment of the first national art school, Beijing Fine Arts School, in 1927, the Art Department of Central University [Xu Beihong as director]; Hangzhou established the first university-based National Art College in 1928, and so on. 。 In July 1922, Yan Wenliang founded Suzhou Fine Arts Summer School. In September, it was renamed the Suzhou School of Fine Arts.

Yan Wenliang's oil paintings are better than scenery and still life. In his early years, he had realistic techniques, realistic scenery and high modeling skills. His paintings "studio", "kitchen" and "meat shop" (pastel painting) are representative works of early Chinese oil painting. Among them, "kitchen" won the honorary prize of 1929 Paris Spring Salon Exhibition.

During his study abroad, he was influenced by classicism and impressionism. On the basis of rigorous structure and realistic techniques, his works also paid attention to the changes of external light and color.

The works of the 1960s mostly focus on the subtle changes of nature and the beauty of tranquility. In the late 1970s, the brushwork was flexible, natural, free and easy, with bright colors.

His works are delicate in conception, realistic, meticulous in depiction and bright in color. He is good at blending the spirit of the nation with Western expressive techniques and has a unique artistic style. His research on perspective, color and anatomy has also made great achievements. After smashing the Gang of Four, his passion for creation never fades, and his works are more colorful and gorgeous.

Yan Wenliang's works, if roughly divided, can be divided into early, middle and late periods, before and after the Cultural Revolution. In the mid-term, it is between the two, during which the works are rarely seen. Medium-term delicacy, late extensive and lively.

Yan Wenliang is a rigorous person in his life and work. His paintings are as rigorous and realistic as his own. Masters are easy to approach and very popular. At the end of the Cultural Revolution, Yan Wenliang was over eighty years old. Old people in their eighties should stay at home for a long time, and Yan Wenliang often goes out to sketch and create. On the way to sketch, wear old clothes and straw hat. Later in life, Yan Wenliang's brush strokes in his works began to be extensive, and his colors began to be bright. He sometimes jokingly said, "Some Impressionist flavor.

Yan Wenliang belongs to the first generation of Chinese oil painters. Chen Danqing became the "old ancestor" of Chinese modern art and the founder of modern art education. His painting style is very unique, aesthetic, elegant and popular, and now the market recognition has been very high. But his works are hardly artificially hyped. Market acceptance comes purely from the picture itself.

Folding works

42 pieces of works, such as Kitchen (1928), 10th Anniversary of National Day (1959) and Stone Lake Crossing Moon (1912), are now collected by Suzhou Art Museum.

South Lake (1964), Red Sea (1928), Shipyard (1959), British Parliament (1929) and other six works are now in the collection of the Chinese Art Museum.

Pulse of the Motherland (1984) is collected by China Academy of Fine Arts.

Raven Boat (1982) is now hidden in Dragon Art Museum (West Bank Museum).

Folding works

Art Perspective by Yan Wenliang (published by Shanghai People's Fine Arts Publishing House in 1957)

Colour Talk by Yan Wenliang (published by Shanghai People's Fine Arts Publishing House in 1978)

Folding album

Yan Wenliang's Paintings Collection (published by Shanghai People's Fine Arts Publishing House in 1959)

Yan Wenliang's Paintings Collection (published by Shanghai Fine Arts Publishing House in 1985)

Yan Wenliang's Oil Paintings Collection (published by Shanghai Picture Publishing House in 2002)

"Canglangluoying--An Album Commemorating the Eighty-sixth Anniversary of Suzhou College of American Arts" (published by China Modern Art Publishing House in 2009)

Yan Wenliang, Modern Artist, Painting Theory, Works and Life (Lin Wenxia) (published by Beijing Xuelin Publishing House in 1982)

Research on Yan Wenliang (Shang Hui) (published by Jiangsu Fine Arts Publishing House in 1993)