China News Service, Guangzhou, August 1st (Reporter Cheng Jingwei) The "Walking with the People - Exhibition to Commemorate the 110th Anniversary of Guan Shanyue's Birth" being exhibited at the Guangzhou Art Museum, held a media meeting on August 1st.

  The exhibition will be launched online from July 1st, and the offline exhibition will be on display at Guan Shanyue Art Museum on the first floor of Guangzhou Art Museum from July 30th to September 30th.

The exhibition gathers Guan Shanyue's art works collected by four institutions, Guangzhou Art Museum, Shenzhen Guanshanyue Art Museum, Guangdong Guanshanyue Art Foundation, and Lingnan School of Painting Memorial Hall. Hundreds of exhibits.

Guan Shanyue's work "Zhapo Fishing Port" Photo courtesy of Guangzhou Art Museum

  Guan Shanyue (1912-2000), a native of Yangjiang, Guangdong, is an outstanding contemporary Chinese painter and a prominent representative of the Lingnan School of Painting.

In 1935, he entered the Chunshui Painting Academy and studied painting with Gao Jianfu, one of the founders of the Lingnan School of Painting. He was deeply influenced by Gao Jianfu in artistic thought and practice, and was renamed Guan Shanyue by Gao Jianfu.

  This year marks the 110th anniversary of Guan Shanyue's birth. Guangzhou Art Museum and Shenzhen Guan Shanyue Art Museum jointly planned this commemorative exhibition. Taking Guan Shanyue's works and related historical documents from the 1940s to the 1950s as the starting point, the exhibition will show Guan Shanyue's works and related historical documents. Shanyue's thoughts and choices in the historical turning point.

Guan Shanyue's work "Iron Bridge over Han River" Photo courtesy of Guangzhou Academy of Art

  The exhibition takes Guan Shanyue's "I and Chinese Painting" written in 1983 as a clue to lead the audience into Guan Shanyue's artistic and spiritual world.

The exhibition is divided into three chapters, of which the first chapter is "Drawing the World". Guan Shanyue's works on display in this chapter include "The Suppressed Hungry People", "Sketch 2 in 1948", "Hong Kong Sketch and Sewing", etc. .

  It is reported that Guan Shanyue once said in her self-report that after the victory of the Anti-Japanese War, "The city that was ravaged by Japanese aggressors in the past was also a mess when it received the hands of the Kuomintang... I am a painter, and I cannot be careless about the misery of reality and the shattering of illusions. , indifferent." Therefore, Guan Shanyue participated in the "anti-hunger, civil war, anti-persecution" democratic movement, and painted what he saw and heard with a brush to express his deep sympathy for the suffering people.

Photo by Chen Chuhong at the exhibition site

  The second chapter is "New Appearance of Mountains and Rivers". The exhibited works include "Zhapo Fishing Port", "Morning in the Countryside", "Han River Iron Bridge" and so on.

According to reports, at that time, Guan Shanyue conscientiously completed the task of the revolutionary history painting "Liberation of Hainan", and created a series of paintings on the theme of the Long March; in addition to teaching, he went to the mountains and the countryside with students to go deep into life, such as sketching in the fishing port of Zhapo, Yangjiang. , recording the hard work of the people with a brush; and with a very excited mood, depicting the Hanshui Iron Bridge and the Wuhan Yangtze River Bridge under construction, witnessing the great achievements of the construction of New China.

  The works exhibited in the third chapter, "The Image of the People", include "A Letter from Home", "Women's Committee" and "Threading a Needle".

According to reports, that year, Guan Shanyue participated in land reform, went deep into life, joined the torrent of the times and completed self-transformation.

He painted fishermen, peasant women, navy soldiers and other groups. These figure paintings reflect the aesthetics of the times, and also reflect Guan Shanyue's profound comprehension and heartfelt recognition of the party's literary and artistic policies.

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