Is It Simply Sketching? A Case Study of Ye Qianyu Part I

  • Dates:2018-01-23 - 2018-02-25
  • Location:Exhibition Hall B, 3F, CAFA Art Museum
  • Opening:2018-01-23 14:00
  • Organizer(s): CAFA Art Museum
  • Chief Curator: Li Wei
  • General Advisers: Fan Di'an Su Xinping
  • Academic Adviser: Zhang Zikang
  • Exhibition Director: Wang Chunchen

Details

This exhibition displayed Ye Qianyu’s sketches of different periods from the collections of CAFA Art Museum, along with related articles, an art chronology, essays on sketching, and a presentation of people and events that had influenced his life and artistic development. It sorted the internal and... More
This exhibition displayed Ye Qianyu’s sketches of different periods from the collections of CAFA Art Museum, along with related articles, an art chronology, essays on sketching, and a presentation of people and events that had influenced his life and artistic development. It sorted the internal and external factors in the evolution of his sketching style, in order to show multi-dimensionally that while confronting different artistic conceptions and social environments, how Ye used his way of “seeing, remembering and thinking” to constantly explore and develop his own artistic practice, and to uphold the spirit of artistic sketching of the Chinese nation, creating a unique style that established his position as a master of sketching. The exhibition was held in the occasion of the 110th anniversary of Ye Qianyu’s birth, but it was not just for commemorating, but for provoking certain enlightenment for the current generation through Ye’s spirit of exploration and innovation.

The exhibition used time as the reference and was interleaved with comparisons with others. It is divided into five sections based on Ye’s sketches: original formation of sketching, social observation, showing special preferences, space for writing and forgetting the means by which the end is attained.

Preface

Ye Qianyu was a renowned artist and art educator, whose achievements were reflected in many aspects, especially in comics, Chinese painting and sketching. This exhibition selected nearly 180 works to present the essence of Ye Qianyu’s sketching, providing us with opportunities to have an in-depth understanding of his artistic contributions. At the same time, the exhibition was unfolded through a series of questions, combined with social, personal and artistic levels leading to a discussion. It took a new curatorial concept and way of research to bring the audience different feelings and thinking.

 

Times, the destiny and life of the nation have always been the themes of Ye’s artistic creation. Influenced by his family, Ye was fond of painting from childhood. In the middle school, he started to take lessons in painting which made him even more obsessed with it. From 1927 to 1937, Ye spent ten years mainly for drawing comics, and his long comic series Mr. Wangwas very popular at the moment. From the 1930s, Ye drew numerous lively and vivid sketches, and then he turned to the creation of Chinese painting. His well-known Chinese paintings of dancing figures were benefited from his technique of sketching, which not only showed a different style but opened a new realm of figure paintings. Xu Beihong praised him that: “Qianyu’s Chinese paintings are just like his sketches of figures, both with high proficiency; It is not difficult for him to draw straight or curved bodies as he could perfectly capture the features of a figure moving and never shy away from expressing it. For such a master of Chinese painting, only Qiu Shizhou and Wu Youru can compete with him over the five hundred years. Thus, Qianyu’s artistic achievements are very important and should not be overlooked.”

 

The specially selected artworks for this exhibition were a display of sketches. It was not easy for the curator to decide the theme and choose the works from nearly 6,000 works. Firstly, while some people might think the meaning of the title was not clear, it was actually the intention of the curator, who hoped the audience to see the exhibition with questions in their mind. Then, instead of using the regular ways of presentation such as displaying artworks by time periods or art categories, it started from questions and was divided into five parts: original formation of sketching, social observation, showing special preferences, space for writing and forgetting the means by which the end is attained, which fully expressed the essence of Ye’s sketches.

 

Ye was both a famous painter and art educator, with outstanding students everywhere. From 1947, he was invited by Xu Beihong to teach in the National Beiping Art School. For Ye, sketching is not just a creative material or an independent art form. After many explorations, he made full use of sketching to create a modern Chinese painting system with the integration of “tradition, life and creation” and the integration of “copy, sketch and composition”, which had a significant impact on the Chinese painting teaching system of CAFA.

 

Ye was loved and respected for his good personalities, open-mindedness and a spirit of exploration. In late life, he not only donated his well-known works to his hometown and left a will to give all of his paintings and collections to several art institutions including the CAFA. Almost all the artworks presented in this exhibition were from the collections of the CAFA that donated by his family members. Here we would like to express our deep appreciation and sincere gratitude to them!

 

Zhang Zikang

Director of the CAFA Art Museum

       

Ye Qianyu was a renowned artist and art educator, whose achievements were reflected in many aspects, especially in comics, Chinese painting and sketching. This exhibition selected nearly 180 works to present the essence of Ye Qianyu’s sketching, providing us with opportunities to have an in-depth understanding of his artistic contributions. At the same time, the exhibition was unfolded through a series of questions, combined with social, personal and artistic levels leading to a discussion. It took a new curatorial concept and way of research to bring the audience different feelings and thinking.

 

Times, the destiny and life of the nation have always been the themes of Ye’s artistic creation. Influenced by his family, Ye was fond of painting from childhood. In the middle school, he started to take lessons in painting which made him even more obsessed with it. From 1927 to 1937, Ye spent ten years mainly for drawing comics, and his long comic series Mr. Wangwas very popular at the moment. From the 1930s, Ye drew numerous lively and vivid sketches, and then he turned to the creation of Chinese painting. His well-known Chinese paintings of dancing figures were benefited from his technique of sketching, which not only showed a different style but opened a new realm of figure paintings. Xu Beihong praised him that: “Qianyu’s Chinese paintings are just like his sketches of figures, both with high proficiency; It is not difficult for him to draw straight or curved bodies as he could perfectly capture the features of a figure moving and never shy away from expressing it. For such a master of Chinese painting, only Qiu Shizhou and Wu Youru can compete with him over the five hundred years. Thus, Qianyu’s artistic achievements are very important and should not be overlooked.”

 

The specially selected artworks for this exhibition were a display of sketches. It was not easy for the curator to decide the theme and choose the works from nearly 6,000 works. Firstly, while some people might think the meaning of the title was not clear, it was actually the intention of the curator, who hoped the audience to see the exhibition with questions in their mind. Then, instead of using the regular ways of presentation such as displaying artworks by time periods or art categories, it started from questions and was divided into five parts: original formation of sketching, social observation, showing special preferences, space for writing and forgetting the means by which the end is attained, which fully expressed the essence of Ye’s sketches.

 

Ye was both a famous painter and art educator, with outstanding students everywhere. From 1947, he was invited by Xu Beihong to teach in the National Beiping Art School. For Ye, sketching is not just a creative material or an independent art form. After many explorations, he made full use of sketching to create a modern Chinese painting system with the integration of “tradition, life and creation” and the integration of “copy, sketch and composition”, which had a significant impact on the Chinese painting teaching system of CAFA.

 

Ye was loved and respected for his good personalities, open-mindedness and a spirit of exploration. In late life, he not only donated his well-known works to his hometown and left a will to give all of his paintings and collections to several art institutions including the CAFA. Almost all the artworks presented in this exhibition were from the collections of the CAFA that donated by his family members. Here we would like to express our deep appreciation and sincere gratitude to them!

 

Zhang Zikang

Director of the CAFA Art Museum

       

Artworks

Artworks

Photographs

Photographs

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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.

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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.

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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.

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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.

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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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