Oil painting Art blog by Lucas Art

Contemporary artist Zhang Xiaogang, Yue Minjun, Wang Guangyi, Fang Lijun made such a performance is not surprising, since the eighties, they have been a modern Chinese painting activists.

Zhang Xiaogang’s art is the most typical of his “big family of Series”, which works to absorb carbon portrait of Chinese folk style, using the traditional “family” photo schema, similar to the screen characters, stiff facial expression, the entire screen is no smooth strokes , cool and neutral gray tone, constitutes a whole. Some people say that “family” portrait series has become a microcosm of the Chinese-style portraits, his rich, but the appearance of calm water.

Yue Minjun’s work is its distinctive image and style is well-known characteristics. He painted the characters is not only a “self-image” to enlarge, but also clearly shows that some sort of market-oriented nature of the trademark characteristics. Yue Minjun from the early 90s on canvas effort to shape an exaggeration to imply that the large mouth smile, and in recent years spread to the image of its field of sculptures and prints. These images sometimes appear independent, and sometimes the face of collective appearance again. “He” began to laugh, smile ridiculous person in the world, the world is ridiculous laughing matter, the characters dynamic exaggeration, but laid-back.

Wang Guangyi is the most with Chinese characteristics “political pop” on behalf of the arts. The mid-eighties, he began to play an active role in China’s art world and his works for our times covered with a bright stamp. Irony, misappropriation, cut together, such as modern art has been his modus operandi used in different times to deal with common public symbols and classical imagery, with the penetrating power and expansion of the image resources from being re-structure, migration and digestion of the original and simple Cultural Interpretation. Wang Guangyi was for the reputation of art history is the 90’s he created the “big criticism.” In “mass criticism”, he will be two completely heterogeneous image: the “Cultural Revolution”-style political ads and posters and consumption in the home screen.

Fang Lijun of China after the “89″ new art trends of the most important representatives, he and the trend of other artists work together to create a unique mode of discourse -tamper realism. Since 1988, Fang Lijun created “The Bald” image of a series of works, as a classical language Fu, reflecting the late 80s and 90s the first half of China’s widespread a silly mood and sense of humor the survival of feeling. Because the characters can really bring the realities of this heavy a liberation, an easy.

November 3, 1993, New York “Time” magazine selected the cover painting of Fang Lijun, Fang Lijun This is a typical style, the screen is a huge yawning Portrait of skinheads, the title of the painting is “a person yawning.” But Western critics to their position for the head add a sentence to explain, “is not only a yawn, but to rescue China’s roaring” and Fang Lijun personal symbol of the spiritual world as a political symbol.