Sculpture of Love: Memorial Exhibition of Works and Literatures of the Couple Sculptors

  • Dates:2016-03-04 - 2016-04-03
  • Location:Exhibition Hall B, 2F, CAFA Art Museum
  • Opening:2016-03-04
  • Organizer(s): Central Academy of Fine Arts The National Art Museum of China
  • Co-Organizer(s): CAFA Art Museum The Department of Sculpture at the CAFA
  • Chief Curator: Cao Qinghui Wang Wei

Preface

In the development of Chinese art in the twentieth century, many predecessors had made remarkable artistic achievements while also left their touching life stories. The couple Wang Linyi and Wang Henei became acquainted with each other in France for the same interest in sculpture, and out of love for China they resolutely returned to China during the war years. Their entire life walk hand in hand from youth to oldness, their love story was considered as both a symbol of the fusion of Chinese and French art and a beautiful legend full of affection and creation.

 

The most valuable quality of this couple artists is that they were indifferent to fame and wealth, maintained pure minds throughout their lives, and industriously devoted all their talents and wisdom to Chinese modern sculptural creation and art education. From the period of the National Beiping Art School to the Central Academy of Fine Arts, they had followed Mr. Xu Beihong to inherit the tradition to develop the teaching method of sculpture and made significant efforts to the development of the school. This has become a much-told story at the CAFA that Mr. Wang Linyi had assisted Mr. Xu Beihong in conducting campus construction and transforming skylight art studio. In the sculptural creation, Mr. Wang was respected for his pioneering spirit of blending the Western art techniques with traditional Chinese art. He perfectly grasped the characteristics of Chinese conventional sculptures and applied them to his creation with rigorous and exquisite expertise. He set an excellent example of combining the historical themes with specific artistic forms, which is fully reflected in his monumental sculptures, such as the large-scale relief sculpture “May 30th Movement” on the monument of the People’s Heroes and the relief created for the entrance hall of the Cultural Palace of Nationalities. While for Mrs. Wang Henei, except for being the life and working partner of Mr. Wang Linyi, she was also an outstanding sculptor. She created numerous animal sculptures, pure, vigorous and lovely, showing a perfect mixture of the unique female feeling and the elegance of French sculpture, which were warmly received by people. Having always expressed grave concerns for real life and natural life in the sculpture works, Mr. Wang Linyi and Mrs. Wang Henei made great contributions to the development of the sculpture art of new China. In the teaching, they cultivated a large number of excellent art talents through the attempt of combining the norms of teaching sculpture in European countries with the traditional way of studying Chinese culture. Although they didn’t have an heir, they have students spread everywhere, for whom they showed utmost care and set a good example themselves. 

 

The works of Mr. Wang Linyi and Mrs. Wang Henei are considered as a wealthy fortune of academic significance, which is preserved in the CAFA. With the great support of the National Art Museum of China (NAMOC), the CAFA was able to co-organize this memorial exhibition of the works and literature of the two masters and reproduced their representative works to be permanently collected by both NAMOC and CAFA. With the help of three students of the artists, Mr. Sheng Yang, Ms. Chang Saone and Mr. Cao Chunsheng, the curators Mr. Cao Qinghui, Mr. Wang Wei and colleagues of the CAFA Art Museum conducted an academic research on the creation course of the two artists through sorting out all kinds of related documents and literature materials. So that the exhibition could present the art life and creative world of the two artists by using plenty of works, manuscripts, and film videos. During the displaying time in the NAMOC, the exhibition received positive responses from the art circles and public audience as they were deeply moved by the two masters’ noble characters, rational minds and artistic accomplishments. On the occasion of the spring semester, it was believed that the exhibition might take all teachers and students of the CAFA to receive a lecture through the works and literatures of the two predecessors and share the couple’s affection for sculpture. 

 

 

Fan Di’an

Director of The Central Academy of Fine Arts (CAFA)

November 2015

In the development of Chinese art in the twentieth century, many predecessors had made remarkable artistic achievements while also left their touching life stories. The couple Wang Linyi and Wang Henei became acquainted with each other in France for the same interest in sculpture, and out of love for China they resolutely returned to China during the war years. Their entire life walk hand in hand from youth to oldness, their love story was considered as both a symbol of the fusion of Chinese and French art and a beautiful legend full of affection and creation.

 

The most valuable quality of this couple artists is that they were indifferent to fame and wealth, maintained pure minds throughout their lives, and industriously devoted all their talents and wisdom to Chinese modern sculptural creation and art education. From the period of the National Beiping Art School to the Central Academy of Fine Arts, they had followed Mr. Xu Beihong to inherit the tradition to develop the teaching method of sculpture and made significant efforts to the development of the school. This has become a much-told story at the CAFA that Mr. Wang Linyi had assisted Mr. Xu Beihong in conducting campus construction and transforming skylight art studio. In the sculptural creation, Mr. Wang was respected for his pioneering spirit of blending the Western art techniques with traditional Chinese art. He perfectly grasped the characteristics of Chinese conventional sculptures and applied them to his creation with rigorous and exquisite expertise. He set an excellent example of combining the historical themes with specific artistic forms, which is fully reflected in his monumental sculptures, such as the large-scale relief sculpture “May 30th Movement” on the monument of the People’s Heroes and the relief created for the entrance hall of the Cultural Palace of Nationalities. While for Mrs. Wang Henei, except for being the life and working partner of Mr. Wang Linyi, she was also an outstanding sculptor. She created numerous animal sculptures, pure, vigorous and lovely, showing a perfect mixture of the unique female feeling and the elegance of French sculpture, which were warmly received by people. Having always expressed grave concerns for real life and natural life in the sculpture works, Mr. Wang Linyi and Mrs. Wang Henei made great contributions to the development of the sculpture art of new China. In the teaching, they cultivated a large number of excellent art talents through the attempt of combining the norms of teaching sculpture in European countries with the traditional way of studying Chinese culture. Although they didn’t have an heir, they have students spread everywhere, for whom they showed utmost care and set a good example themselves. 

 

The works of Mr. Wang Linyi and Mrs. Wang Henei are considered as a wealthy fortune of academic significance, which is preserved in the CAFA. With the great support of the National Art Museum of China (NAMOC), the CAFA was able to co-organize this memorial exhibition of the works and literature of the two masters and reproduced their representative works to be permanently collected by both NAMOC and CAFA. With the help of three students of the artists, Mr. Sheng Yang, Ms. Chang Saone and Mr. Cao Chunsheng, the curators Mr. Cao Qinghui, Mr. Wang Wei and colleagues of the CAFA Art Museum conducted an academic research on the creation course of the two artists through sorting out all kinds of related documents and literature materials. So that the exhibition could present the art life and creative world of the two artists by using plenty of works, manuscripts, and film videos. During the displaying time in the NAMOC, the exhibition received positive responses from the art circles and public audience as they were deeply moved by the two masters’ noble characters, rational minds and artistic accomplishments. On the occasion of the spring semester, it was believed that the exhibition might take all teachers and students of the CAFA to receive a lecture through the works and literatures of the two predecessors and share the couple’s affection for sculpture. 

 

 

Fan Di’an

Director of The Central Academy of Fine Arts (CAFA)

November 2015

Artworks

Photographs

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This event was organized on the principles of fairness, impartiality, and voluntary participation and withdrawal. Participants undertake all risk and liability for themselves. All events have risks, and participants must be aware of the risks related to their chosen event.

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According to The Advertising Law of the People’s Republic of China, The General Principles of the Civil Law of the People’s Republic of China, and The Provisional Opinions of the Supreme People’s Court on Some Issues Related to the Full Implementation of the General Principles of the Civil Law of the People’s Republic of China, and upon friendly negotiation, Party A and Party B have arrived at the following agreement regarding the use of works bearing Party A’s image in order to clarify the rights and obligations of the portrait licenser (Party A) and the user (Party B):

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The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).

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Use in perpetuity.

IV. Licensing Fees

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After completion, Party B does not need to pay any fees to Party A for images bearing Party A’s likeness.

Additional Terms

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(3) This agreement exists in paper and electronic forms. The paper form is made in duplicate, with Party A and Party B each retaining one copy with the same legal efficacy.

Event participants implicitly accept and undertake all the obligations stated in this agreement. Those who do not consent will be seen as abandoning the right to participate in this event. Before participating in this event, please speak to your family members to obtain their consent and inform them of this disclaimer. After participants sign/check the required box, participants and their families will be seen as having read and agreed to these terms.

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I fully agree to CAFA Art Museum (CAFAM) submitting to CAFA for publication the images, pictures, texts, writings, and event products (such as works created during participation in workshops) related to me from my participation in public events (including museum member events) organized by the CAFA Art Museum Public Education Department. CAFA can publish these materials by electronic, web, or other digital means, and I hereby agree to be included in the China Knowledge Resource Bank, the CAFA Database, the CAFA Art Museum Database, and related data, documentation, and filing institutions and platforms. Regarding their use in CAFA and dissemination on the internet, I agree to make use of these rights according to the stated Rules.

CAFA Art Museum Event Safety Disclaimer

Article I

This event was organized on the principles of fairness, impartiality, and voluntary participation and withdrawal. Participants undertake all risk and liability for themselves. All events have risks, and participants must be aware of the risks related to their chosen event.

Article II

Event participants must abide by the laws and regulations of the People’s Republic of China, as well as moral and ethical norms. All participants must demonstrate good character, respect for others, friendship, and a willingness to help others.

Article III

Event participants should be adults (people 18 years or older with full civil legal capacity). Underage persons must be accompanied by an adult.

Article IV

Event participants undertake all liability for their personal safety during the event, and event participants are encouraged to purchase personal safety insurance. Should an accident occur during an event, persons not involved in the accident and the museum do not undertake any liability for the accident, but both have the obligation to provide assistance. Event participants should actively organize and implement rescue efforts, but do not undertake any legal or economic liability for the accident itself. The museum does not undertake civil or joint liability for the personal safety of event participants.

Article V

During the event, event participants should respect the order of the museum event and ensure the safety of the museum site, the artworks in displays, exhibitions, and collections, and the derived products. If an event causes any degree of loss or damage to the museum site, space, artworks, or derived products due to an individual, persons not involved in the accident and the museum do not undertake any liability for losses. The event participant must negotiate and provide compensation according to the relevant legal statutes and museum rules. The museum may sue for legal and financial liability.

Article VI

Event participants will participate in the event under the guidance of museum staff and event leaders or instructors and must correctly use the painting tools, materials, equipment, and/or facilities provided for the event. If a participant causes injury or harm to him/herself or others while using the painting tools, materials, equipment, and/or facilities, or causes the damage or destruction of the tools, materials, equipment, and/or facilities, the event participant must undertake all related liability and provide compensation for the financial losses. Persons not involved in the accident and the museum do not undertake any liability for personal accidents.

CAFA Art Museum Portraiture Rights Licensing Agreement

According to The Advertising Law of the People’s Republic of China, The General Principles of the Civil Law of the People’s Republic of China, and The Provisional Opinions of the Supreme People’s Court on Some Issues Related to the Full Implementation of the General Principles of the Civil Law of the People’s Republic of China, and upon friendly negotiation, Party A and Party B have arrived at the following agreement regarding the use of works bearing Party A’s image in order to clarify the rights and obligations of the portrait licenser (Party A) and the user (Party B):

I. General Provisions

(1) Party A is the portraiture rights holder in this agreement. Party A voluntarily licenses its portraiture rights to Party B for the purposes stipulated in this agreement and permitted by law.

(2) Party B (CAFA Art Museum) is a specialized, international modern art museum. CAFA Art Museum keeps pace with the times, and works to create an open, free, and academic space and atmosphere for positive interaction with groups, corporations, institutions, artists, and visitors. With CAFA’s academic research as a foundation, the museum plans multi-disciplinary exhibitions, conferences, and public education events with participants from around the world, providing a platform for exchange, learning, and exhibition for CAFA’s students and instructors, artists from around the world, and the general public. As a public institution, the primary purposes of CAFA Art Museum’s public education events are academic and beneficial to society.

(3) Party B will photograph all CAFA Public Education Department events for Party A.

II. Content, Forms of Use, and Geographical Scope of Use

(1) Content. The content of images taken by Party B bearing Party A’s likeness include: ① CAFA Art Museum ② CAFA campus ③ All events planned or executed by the CAFAM Public Education Department.

(2) Forms of Use. For use in CAFA’s publications, products with CDs, and promotional materials.

(3) Geographical Scope of Use

The applicable geographic scope is global.

The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

The fees for images bearing Party A’s likeness will be undertaken by Party B.

After completion, Party B does not need to pay any fees to Party A for images bearing Party A’s likeness.

Additional Terms

(1) All matters not discussed in this agreement shall be resolved through friendly negotiation between both parties. Both parties may then sign a supplementary agreement, provided it does not violate any laws or regulations.

(2) This agreement comes into effect on the date that it is signed (sealed) and the relevant boxes are selected by Party A and Party B.

(3) This agreement exists in paper and electronic forms. The paper form is made in duplicate, with Party A and Party B each retaining one copy with the same legal efficacy.

Event participants implicitly accept and undertake all the obligations stated in this agreement. Those who do not consent will be seen as abandoning the right to participate in this event. Before participating in this event, please speak to your family members to obtain their consent and inform them of this disclaimer. After participants sign/check the required box, participants and their families will be seen as having read and agreed to these terms.

I have carefully read and agree to the above provisions.

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