Collection Of CAFA Art Museum -- 20th Century Chinese Art CAFA Art Museum

Collection Of CAFA Art Museum -- 20th Century Chinese Art

Dates：2024-07-23 - 2025-04-20
Location：2B
Opening：2024-07-23
General Counsel： Gao Hong, Xu Yang
Academic Moderator： Lin Mao
Overall Guidance： Liu Peiyuan, Wang Xiaolin, lv Pinjing, Pan Chenghui
Chief Curator： Jin Jun
Planning Director： Han Wenchao
Curatorial Host： Wang Chunchen, Gao Gao
Curatorial Execution： Li Yaochen, Liu Xiyan
Design Director： Ji Yujie
Exhibition Production Director： Wu Peng
Scheme Planning and Preparation： Yi Yue, Wang Jing, Hu Xiaolan, Li Jie, Jin Jianru, Wang Ruobing, Xu Xinchen, Sun Yimei, Yang Linsi
Collection Management： Li Yaochen, Xu Yan, Wang Chunling, Li Wei, Ma Liang, Cui Ranran, Dou Tianwei, Mei Qi, Jiang Nan
Design Associate： Min Zhiyi, Liu Yuhan, Li Shuangting, Pang Minghao, Yang Yongchun
Exhibition Management： Su Shicun, Jing Peng
Media Publicity： He Yisha, Wu Jing, He Yifei, Du Yinzhu, Ding Yi
Public Education： Xiao Baozhen, Geng Jinghua, Wang Jun, Yao Yiqun, Liang Wen, Xi Huawei
Development and Promotion： Jiang Siyu, Yue Junyao, Zhang Jing, Guo Xu
Financial and Economic Affairs： Yang Liu, Men Jing, Kou Lei
Logistics and Security： Chen Xiaohua, Lv Zhifa

Details

1900 - 1949

From the early 20th century, against the backdrop of national crisis, social turmoil, and the pursuit of national salvation, a new form of art gradually emerged as an important means to enlighten the people and seek national rejuvenation. The following decades marked a crucial period in which Chinese art transitioned towards modernity and witnessed the rise of modern art education.On the one hand, the artists absorbed achievements and methods from art all over the world. On the other hand, the artists studied and inherited our nation’s traditional art while advocating for engagement with society, focusing on reality, striving and seeking to create a new form of art suitable for the needs of modern social development.

1950 - 1976

On October 1st, 1949, the People’s Republic of China was founded, and the development of art came to a historic pivot. During this period, art aimed to serve the masses of workers, peasants, and soldiers, advocating for “people’s new art”. Art education became formalized, drawing lessons from experiences of countries such as Soviet Union and Eastern Europe, and gradually mastering the methods and laws of modern art education and creation. This period saw an elevation in artistic expression and the begining of explorations into “Chinese style, Chinese spirit”. Artists embraced society with great enthusiasm, integrating revolutionary realism with revolutionary romanticism to serve the transformative socialist construction. Artistic creation during this period exerted extensive social influence and impact.

1977 - 2000

The policy of “reform and opening-up, and emancipate the mind” of the time dramatically changed Chinese society and introduced a new phase for Chinese art. Situated in an open world and a relaxed environment, artists engaged in profound reflections on history, culture and human nature while envisioning the future with confidence. Additionally, they attended more in the discussion and exploration of the inherent laws of art development itself, and attempted to make breakthroughs and experiment with more diversified and personalized expressions in terms of language, form, and subject matter. They gradually developed their own styles and delved into deeper levels of research on the essence and laws of art.

Preface

Being among the first batch of national key art museums, the Art Museum of Central Academy of Fine Arts (CAFA Art Museum) upholds the academic concept of “being inclusive, embracing the past, opening up the future.” It is committed to constructing contemporary public cultural spaces and a distinctive collection system, aiming to establish a unique narrative of art history. Over its century-long history since its establishment (originating from the Beiping Art School), CAFA and its subsequent art museum have consistently and systematically conducted collection activities. Currently, the museum houses over 20,000 diverse artworks spanning ancient and modern periods, encompassing both Chinese and Western art. The collection includes numerous works by renowned masters across various fields of art, establishing sequences such as ancient Chinese art, modern and contemporary Chinese art, and collections of works by CAFA faculty and students. This official launch of a long-term exhibition features classic artworks from the collection, and presents the development of Chinese art history. It serves as an academic exploration to revitalize the museum's collection and provides rich cultural and historical perspectives to society, along with valuable resources and core values for the research and education of art. The 20th century was a pivotal period in the development of Chinese art, and CAFA has actively participated throughout, playing a significant role to lead and to promote. Its faculty and students have created numerous classic works that have had a profound impact on modern Chinese art history. The current exhibition features over 200 artworks from 20th century Chinese art, organized chronologically into three sections: 1900-1949, 1950-1976, and 1977-2000, presenting the development of plastic arts over a century. Artworks are memories of their times, encapsulating the emotions of artists and the essence of their era. They serve as visual reflections of history, allowing audiences to experience the artistic pursuits, explorations, and the zeitgeist depicted in these works across different periods.

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: Exhibition of CAFAM's Collection | "The Rammer's Song" - A painting more than three meters wide, showing the youth and passion of the laborers in New China.

2024-10-07

Mr. Wang Wenbin completed the oil painting "The Rammer's Song" in 1962. It is his graduation creation during his study at the art academy and also a representative work in his artistic career. It is hailed as a classic work of Chinese realistic oil painting. Before China's reform and opening up, especially in the vast rural areas, when laying the foundation for large-scale projects, it still relied on manual labor to compact the foundation. This work is called ramming.>>>>“The Rammer's Song”. Wang Wenbin. 1962. Oil on canvas. 156×320cm. Collected by the Art Museum of the Central Academy of Fine Arts.The work "The Rammer's Song" captures this typical moment of labor. The painting mainly shows rural girls singing the ramming song while ramming. In terms of composition, the artist chooses an upward-looking perspective and arranges the main characters above the eye level. The body movements of the girls form a set of radial diagonal lines, giving people a sense of ascent. At the same time, the positions of the mountains in the background are cleverly arranged below the waists of the characters, further enhancing the lofty feeling of the characters. In terms of color, the effect of external light is emphasized. Under the brilliant sunlight, the colorful clothes of the girls, through the warm reflection of the ground, appear more transparent and lightweight.In 1962, the work participated in the "New Shoots" art exhibition organized by the Ministry of Culture and immediately attracted the attention of the art circle, becoming an excellent work that reflects the times. Looking back at Mr. Wang Wenbin's "The Rammer's Song" many years later, the vigorous vitality revealed in the picture still moves everyone. This work has also become one of the artworks that can best represent the construction of New China.>>>>Exhibition of the Collection of the Art Museum of the Central Academy of Fine Arts——Modern Chinese ArtExhibition Dates: From July 23, 2024Exhibition Venue: Exhibition Hall B on the second floor of the Art Museum of the Central Academy of Fine ArtsSponsor of Professional Exhibition Lighting:AKZU (Shenzhen AKZU Lighting System Co., Ltd.)Consultant of Exhibition Space Architectural Design:China Academy of Building Research.Editor-in-chief / He YishaResponsible editor / Du Yinzhu
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: CAFAM馆藏陈列 | 侯一民《地下工作者》：在黑暗中寻找光明

2024-10-25

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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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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.

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(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.

Group Visit Agreement
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CAFA Art Museum Publication Authorization Agreement

CAFA Art Museum Event Safety Disclaimer

Article I

Article II

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

Article V

Article VI

CAFA Art Museum Portraiture Rights Licensing Agreement

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.

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

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

(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

(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.

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

CAFA Art Museum Event Safety Disclaimer

Article I

Article II

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

Article V

Article VI

CAFA Art Museum Portraiture Rights Licensing Agreement

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.

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

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

(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

(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.

I have carefully read and agree to the above provisions.