1937 entered the third hall of the political department presided over by Guo Moruo and painted anti-Japanese posters in Wuhan and other places. 1942 participated in the joint exhibition of contemporary painters in Sichuan and Chongqing. 1943 lecturer of Chinese painting at the National Academy of Arts. The following year, a freehand brushwork painting exhibition was held in Chongqing. 1945 joint exhibition with Lin Fengmian, Ding, Ni Yide. The works of this period are mainly landscapes and freehand brushwork figures. Brief introduction of Li Keran, who taught in Beiping Art College from 65438 to 0946, studied with and accompanied Qi Baishi in the following spring 10 year. In the same year, he got a wonderful experience of yellow ink accumulation. After 1949, he was elected as the director of China Artists Association. The sketch exhibition of Li Keran, Zhang Ding and Luo Ming was held in Beijing from 6:5438 to 9:53. From 65438 to 0957, he traveled to the German Democratic Republic and drew a lot of sketches, reaching new heights in pen and ink, conception and realm. The representative works of this period integrated the characteristics of western modern painting, which paid attention to perceptual reality and object individuality, into the pen and ink form of Chinese painting, which broke the old pattern of traditional landscape painting and injected fresh life feelings and modern characteristics into the works, which was a breakthrough to traditional landscape painting and gradually formed its own unique style. From 65438 to 0959, he held exhibitions and published works in Beijing, Tianjin, Shanghai, Nanjing, Guangzhou and Czechoslovakia, and was elected as a member of the Fifth China People's Political Consultative Conference. 1979 was elected vice chairman of China Artists Association and member of All-China Federation of Literary and Art Circles, and was appointed president of Chinese Painting Research Institute. 1983 was made into an art education film "Li Keran's Landscape Art", and the appreciation films "The Story of the Mountains and Rivers of the Motherland" and "Li Keran Painting Cattle". From 65438 to 0986, a retrospective exhibition of Li Keran China's paintings was held in China Art Museum, and more than 200 pieces of his works in different periods were exhibited. This period is another * * * stage of Li Keran's creation, with more skillful pen and ink, more comfortable writing style, more mellow taste and more stylized form.
Li Keran's landscape paintings attach importance to the cohesion of images. He emphasized that landscape painting should be from scratch, from scratch, that is, from simple to rich, and then from rich to simple. His landscape works in the 1940s still have the shadow of Zhu Da and Dong Qichang. They are unpretentious and have a linear brush-and-ink structure. After 1950s, with the help of sketch, the works created a new landscape image, which changed from a linear pen-and-ink structure to a blocky pen-and-ink structure, with ink as the main part, and the whole was simple and rich, heavy and profound. He absorbed nutrition from Fan Kuan, Gong Xian, Huang and other ancient and modern masters, and created a completely different style of Piaomao Shenxiong. Most of his materials are drawn from Jiangnan and Bashu famous mountains and rivers, thus melting and casting the quietness and beauty in his painting style. His simplicity and mellow northern quality make his style simple and profound. He also introduced light into the picture, especially good at showing the backlight effect of mountains in the morning and evening, which made his works hazy and confused and time wandering. Generally speaking, Li Keran's landscape paintings are closer to the perceptual reality of the object than those of Ming and Qing Dynasties, which weakens the independence of meaning and form and interest in a certain sense. This is a correction and breakthrough to the tendency of landscape painting becoming more and more formal and stylized since Ming and Qing Dynasties, which is in line with the five principles. Since the May 4th Movement, the trend of thought in literature and art dominated by realism has been consistent.
Li Keran put a lot of effort into freehand figure painting, which is smart, implicit, exaggerated but not ugly, simple but not Gu Zhuo, full of humor, wit and life interest. Qi Baishi once spoke highly of it. Li Keran is also an expert in drawing cows. He likes the strength, diligence and hard work of cattle, and his studio is named Shi Niutang. Over the years, a large number of cattle grazing maps have been drawn.
Li Keran is good at calligraphy, likes to search for books and posts, and especially loves the North Monument. His introduction to calligraphy in Li Keran not only benefited from Huang Daozhou's painting accomplishment, but also benefited from his calligraphy art. The architecture and verve of the structure are recombined, and the state is quiet and colorful, strong, pale, beautiful and gentle. He has signed many works, and the layout and composition have to be managed repeatedly, which is very interesting when writing.
Li Keran has been a professor of Chinese painting department of Central Academy of Fine Arts for a long time, and has trained many landscape painters. He believes that the first step in learning traditional painting must be to type with the greatest skill, and the second step must be to type with the greatest strength. This is a summary of his decades of artistic practice, and also reflects his overall view on tradition and creation. He has published Li Keran's Ink Sketch, Li Keran's Chinese Painting and Li Keran's Painting of Cattle.
Li Keran's ink-and-wash paintings swept away the refined literati habits, especially the basic tone formed by sad black, which deeply captured people's feelings. But under the restriction of this sad melody, even if there is a trace of elegance in the painting, it will be the sad tone caused by this "black world".
After 1954, he took nature as his teacher and went to Jiangnan repeatedly to explore the changes of "light" and "ink" and formed a unique style, which can be summarized by "black", "full", "rising" and "astringent". There is no doubt that Li Keran created a new pattern in the world of ink painting.
His picture structure makes people feel a thousand-year-old China landscape painting. A Fan Kuan-style full composition, the mountain is approaching, the waterfall condenses into a white seam, carved inch by inch with heavy tones, and goes deep into every corner of the picture, showing the largest and richest content on a piece of paper.
Critics agree that the value of Li Keran's landscape painting mainly lies in his creative exploration of new schema and his profound spiritual strength.
The fall of a leaf is enough to tell us that autumn is coming-a straw shows the direction of the wind.
Shepherd boy piccolo
People are fragrant in plum blossoms.
Wanshan hongbian
Wanshan Hongbian (2)
A clear shadow map of the sail
Sunset in the Smoky River
Clear and beautiful landscape map
Grassland grazing
Brown old man
Kuin map axis
Cloth bag monk map
The picture crosses the axis of the cow under the shade of banyan trees.
Niu Niu tuzhou
Lijiang River Axis in Rain
Landscape axis