Exhibitions and Events-News- CAFA Art Museum

Exhibitions and Events－News

Focusing on important exhibition and activity info of CAFA Art Museum, and updates the latest news of international museum industry.

: Today is Major Cold | Snow blankets the empty forest, yet plum blossoms seem unaware

2026-01-20

More

: 全国政协教科卫体委员会主任陈宝生一行来中央美院调研指导工作

2026-01-19

2026年1月16日，全国政协常委、教科卫体委员会主任，教育部原部长、党组书记陈宝生率全国政协调研组来到中央美术学院，围绕推动艺术与科技融合，做好美育工作开展调研。学校党委书记徐扬、院长林茂陪同调研。在中央美术学院美术馆，调研组认真观摩了馆藏陈列现代中国美术展和古代中国艺术展，透过一件件艺术经典名作，调研组深入了解了中央美术学院始终坚守“爱国为民、崇德尚艺”的初心理念。许多作品不仅仅是技艺的展现，更是时代精神的凝练与社会责任的承载，生动描绘了在中国共产党领导下国家发展的壮阔历程和人民生活的美好画卷。调研组指出，只有扎根时代、服务人民、秉持高尚品德与艺术理想，艺术教育才能永葆生机，艺术创作才能具有持久的生命力。
More

: 什么？！央美送“福”了，还是齐白石的“福”字！

2026-01-19

主编 / 何一沙责编 / 杜隐珠
More

: “无‘野’不成城”即将开展 | 第四届全球大学生虚拟策展大赛CAFAM赛道特等奖

2026-01-08

第四届全球大学生虚拟策展大赛指导单位全国普通高校毕业生文旅艺术行业就业创业指导委员会主办单位中央美术学院中共北京市东城区委宣传部承办单位中央美术学院艺术管理与教育学院中央美术学院创新创业教育中心中央美术学院美术馆北京画院青年艺术100组委会执行单位中央美术学院美术博物馆虚拟策展与美育课程虚拟教研室为贯彻落实中共中央办公厅、国务院办公厅印发的《关于全面加强和改进新时代学校美育工作的意见》，推进社会主义文化强国建设的决策部署，激发艺术创新动力，推动艺术成果传播，中央美术学院自2022年起策划举办“大学生虚拟策展大赛”品牌赛事。大赛以“以策展助力美育，为美育而策展”为宗旨，意在鼓励大学生们将人文艺术、前沿技术与美育传播有机结合，通过还原度高、操作性强的虚拟策展实验平台，创作出优质的虚拟展览方案，将成果推向公众，延伸出社会美育的多重可能。「CAFAM赛道」是大赛组委会联合中央美术学院美术馆（简称CAFAM）共同设立的命题赛道，本赛道要求参赛者自主选择艺术作品，在中央美术学院美术馆项目空间场地进行展览策划，打造具有实验性和在地性的特色展览。获得赛道特等奖的项目最终落地中央美术学院美术馆（简称CAFAM）：“广角——青年实验项目空间”场地，为大学生的想象力提供具有实验性与在地性兼具的施展空间。< CAFAM赛道特等奖方案展览 >无“野”不成城开幕时间2026年1月9日14:00展览时间2026年1月9日—3月1日展览地点中央美术学院美术馆3层C展厅展览简介简文帝游华园曰“会心处不必在远”，此言道出人心神交融、和谐舒畅的地方不必寻求遥远之处，但当林水退隐，高楼并立，人与万物的亲近感是否也被推远？未来，我们与草木鸟兽的关系将以怎样的方式呈现？“野”，即“邑外谓之郊，郊外谓之牧，牧外谓之野”。“无‘野’不成城”，受谚语“无木不成林，无水不成渊”的启发，其揭示了整体与部分、依存与生成的关系。当代城市化的快速扩张，正在以惊人的速度重塑原初的自然场域。高楼大厦与霓虹景观成为现代都市的日常图景，而自然土地、曾经的居所与承载集体经验的记忆，则在持续的开发中逐渐退隐。本展览中关于“野”的构想，意在构筑一个开放而流动的行动者网络。在这一网络中，人类、自然物、技术物得以相互牵引与作用，形成一种非线性、动态性的关系。鲁林峰从影像中拾掇那些介乎于城市开发中被湮没的诗意，王源徽的视线如同考古般，穿引出物质文明更新的呼吸节奏，陈暘与高海鹰将视觉与听觉交织，形成一种可感的自然脉搏。陈墨的盆栽在城市的裂隙中潜伏，既以沉默固守形体，又以嘶鸣撕开空间的表皮。刘乙霖的线条反复折返、游走，像试探又像逃逸，在与色块的碰撞中触碰虚拟；与此同时，孙贻武的条幅将流转的节气延展为一条生生不息的河流，春雷隐入笔墨，生命的循环在沉静的水面刻下亘古的纹理；文富蓉以奔涌的笔触划开画布，任由色彩扩张，喷薄出涌动的生命力。在景斯阳发起，倪尔璐、李鑫祥共创的项目中，山野与人类的呼吸同频，灵魂在自然的回音中觅得栖息。曹澍将目光锚定于人类灭绝，技术物主导的世界，以植物为代表的自然物周而复始地生长于监视之下。曾经固有的伦理如同算法的幽灵，飘忽地回应着模糊的未来。这些作品从不同的角度出发，“野”在其中被反复书写：被人类记忆重构、被技术与物质文明推向未知边界的动态疆域。行经其间，既步入物质与精神的交错之地，也步入对未来伦理的试探场——本展览诚邀观众一同追寻“野”的行迹。参展作品《诗学空间构建》作者：鲁林峰创作媒介：单频影像，4K，彩色，立体声，5分11秒创作年代：2025尺寸：可变《纪念碑（Monument）》作者：王源徽创作年代：2023创作媒介：综合媒材装置尺寸：可变《大脑游离症候群》、《Cry》、《心跳脉搏》（从左到右）作者：陈暘创作媒介：动画创作年代：2024尺寸：可变《逆听Netsil》作者：高海鹰创作媒介：麦克风、铝合金支架、立体声音频文件创作年代：2024尺寸：可变《盆栽》作者：陈墨创作媒介：铜版画创作年代：2025尺寸：50cmx60cm《无题》作者：刘乙霖创作媒介：布面丙烯、木炭、喷漆创作年代：2025尺寸：25cm×30cm《惊蛰》作者：孙贻武创作媒介：纸本水墨创作年代：2023尺寸：100cm×573cm《共生》作者：文富蓉创作媒介：布面综合材料创作年代：2023尺寸：140cm×160cm《雨林演替·腊茗》主创人员：景斯阳、倪尔璐、李鑫祥创作媒介：综合材料、影像、实物、书籍创作年代：2023-2024地点：云南普洱市澜沧县惠民镇景迈山芒景村《妖糖》作者：曹澍创作媒介：3D渲染三屏影像15分10秒创作年代：2023尺寸：可变关于公教活动本次公共教育活动以“再野化”与“在地化”为核心视角，从艺术创作与策展实践两个层面出发，邀请从事艺术生态实践的艺术家与策展人，共同探讨艺术项目如何在具体场域中回应环境、文化与社会议题。活动设置实践环节，嘉宾将引导参与者进行头脑风暴与策展思维框架的构建，进一步探讨艺术创作与策展在当代社会及生态议题中的方法论意义与现实可能性。工作坊时间：1月9日（周五）15:30-16:30工作坊地点：中央美术学院美术馆会议室招募对象：18岁以上成人招募人数：20人工作坊报名通道扫描二维码预约报名关于策展人陈漫澜中央美术学院与法国凯致商学院在读，喜欢阅读、摄影、写作。目前关注当下的社会景观，观察热点事件背后的集体情绪潜流。将策展视为一种社会介入的媒介，延展思想与现实的深层联结。邓爱桦中央美术学院与法国凯致商学院在读，平时创作聚焦于装置和影像。研究方向关注人文地理视角下的当代生活议题，尝试通过策展研究地方性、身份认同与社会空间中的感知与经验。郑焙焙中央美术学院与法国凯致商学院在读，致力于通过策展、图像和出版物，探讨和构建当代生活美学和秩序。展览时间：2026年1月9日—3月1日展览地点：中央美术学院美术馆3层C展厅主办单位：中央美术学院承办单位：中央美术学院美术馆美术博物馆虚拟策展与美育课程虚拟教研室主编 / 何一沙责编 / 杜隐珠编辑 / 晏宇希
More

: Gao Hong: Memories Of The "The Maksimov Training Program"

2026-01-04

Memories Of The "The Maksimov Training Program" By Gao HongThe two-odd years from 1955 to 1957, when I studied at the Oil Painting Training Class of the Central Academy of Fine Arts, were a truly fortunate and delightful chapter in my life.I had originally gone on a business trip to the newly liberated Dachen Islands to complete a creative assignment. Barely four or five days into my stay on the island, which had been left devastated and in ruins after the enemy’s retreat and before I could even start working, I received an order to return to Beijing immediately. As I boarded the train at Hangzhou Railway Station for the trip back, I chanced upon six or seven young painters carrying their art supplies, who were also heading to Beijing on the same train. When I got back to my work unit and made inquiries, I learned that I had been assigned a new task: the Ministry of Culture had invited a Soviet expert to run an oil painting training class at the Central Academy of Fine Arts, and the Cultural Department of the General Political Department had selected He Kongde and me to sit for the entrance examination at the academy. With time pressing, I was told to make preparations at once.Needless to say, this was an unexpected and great joy for me. Such a golden opportunity felt nothing short of a godsend.The works I submitted for the examination were as follows: Dong Cunrui Blowing Up the Bunker, an oil painting created in 1948 for the Northeast Revolutionary Martyrs Memorial Hall (published by the People’s Fine Arts Publishing House); the 1954 propaganda poster We Must Liberate Taiwan (published by the People’s Fine Arts Publishing House); and sketches and quick drawings done on the Korean battlefield in 1952 (published by the People’s Fine Arts Publishing House and featured in People’s Daily). During the interview, teachers including Wang Shikuo, Luo Gongliu, Dong Xiwen, and Li Zongjin put forward questions one after another. I answered each one earnestly, and by and large, my responses met with their approval. After passing the examination, I set about going through the admission procedures.A Life Of Study——————————————Once admitted to the Oil Painting Training Class, we began our life as students.The trainees of this class were not ordinary freshmen newly admitted to the university. Among us were graduate students staying on at the academy, young teachers from art colleges elsewhere, and on-the-job cadres from cultural institutions of the military and local governments. The oldest among us was Professor Feng Fasi, who was elected class monitor; he was formerly the Chairman of the Oil Painting Department of the Central Academy of Fine Arts. I was 29 years old when I enrolled. Some of my fellow students were younger than me, while others were older. Hailing from all walks of life, we gathered closely under one roof, forming a lively and cheerful dynamic all of our own.As official trainees, we were now part of the academy family, just like the faculty, staff and students of other classes. We cared for one another in perfect harmony.We moved into the second floor of the grey-brick student dormitory building in the southwest corner of the academy campus. He Kongde, Yuan Hao, Wang Xuzhu and I shared a room facing north. The room contained one desk and two sets of bunk beds. He Kongde and I took the upper bunks, while the other two—who had come from the Central and Southern China College of Fine Arts—were given the lower bunks. Across the corridor from us lived three others: Feng Fasi, Wang Liuqiu and Qin Zheng, who were the leading members of the Party branch of the Oil Painting Training Class. Despite living so close by, we rarely visited each other, as everyone was preoccupied with their own work. Next door to our west was the Peace Restaurant of Dong'an Market, and we often heard music drifting over from its dance hall. None of us ever went there, though.What truly made us feel like a group of students was participating in the mass demonstration on International Workers' Day. We were assigned to take turns carrying large slogan boards as we marched past Tiananmen Square. On the day when Indonesian Prime Minister Sastroamidjojo visited Beijing, we were stationed in a long line on the north side of the road, just east of the three-arched gate next to the Working People's Cultural Palace, to cheer the visiting dignitary along the route. That was a rare chance for us to see Premier Zhou Enlai at close range.My Graduation Work The Orphan—————————————————————— In the second half of 1956, we discussed the creative sketches of each student in class.At first, I wanted to paint a bright and sunny scene. I made a sketch of a Korean woman in a farm field, balancing a water jar on her head. It was the rice transplanting season, and on the ridge stood a straw basket used by local Korean villagers, along with a number of shoes belonging to Volunteer Army soldiers.My teacher commented that this depicted a common daily-life scene, more like a regular study piece, and suggested that I should choose a theme with richer ideological connotations.Gao Hong, "Orphan", 139×160cm, oil on canvas, 1957, collected by CAFA Art MuseumAfter several revisions, I chose the battlefield in North Korea as the setting, depicting Chinese People's Volunteers soldiers taking care of orphans from the Korean War. The teacher said this was good, as it embodies the warm affection of humanitarianism, as well as the compassion and mutual assistance that should exist between people. This unfortunate child who has lost his parents should receive kind care. In the future, efforts should also be made to help them go to school, enabling him (or her) to acquire knowledge and strive to build a new and better life. The composition of this painting was thus finalized.In the first half of 1957, no more classes were arranged for the class, and the students all went their separate ways to busy themselves with their graduation creations.Gao Hong: Pencil Sketch of Characters for The OrphanThe school has limited space for us to work on our creations. Our General Political Department's creative studio has a painting room at Lianhuachi, so I don't have to crowd with everyone at school. I went back to Lianhuachi, which is located in the suburbs and offers many convenient conditions for painting this piece.Gao Hong: Shajiadi Grain StationI collected ready-made wood from my surroundings to build a dwelling for Volunteer Army soldiers.Every prop in the painting was an authentic item used by the Volunteer Army. Faced with such a vividly realistic recreated scene, I felt a great surge of interest and confidence.Professor Maksimov visited Lianhuachi twice, accompanied by our translator Comrade Tong Jinghan.Naturally, the professor cared deeply about the progress of each student’s graduation project and the difficulties they encountered. Having not seen me for quite some time, he was eager to check on how my painting was coming along. So he and Tong Jinghan drove to Lianhuachi in a light blue car. At the sight of the small-windowed, semi-underground dwelling I had built—so true to the Volunteer Army’s actual quarters—the professor was very pleased. He was reassured about my work. He said that with such a realistic setting, I had a solid foundation for completing the painting. Time was pressing, he added, so I should press ahead with the work.By the time the professor made his second visit to Lianhuachi, the painting had already taken basic shape. He told me to keep going just as I was. Perhaps to ease my regret at not being able to paint a bright, colorful scene under sunlight, he commented that while beautiful colors were certainly desirable in a painting, an indoor setting without the vivid hues of sunshine could also yield a compelling picture. He cited Surikov’s Menshikov at Berezovo as an example: its rich and subtle tones focused on revealing the characters’ inner worlds and spiritual strength, making it truly captivating. “You too can make great efforts in handling the dim indoor lighting,” he said. “Everything depends on your own hard work.”Surikov: Menshikov at Berezovo TownMy teacher gave me a great deal of encouragement, bolstering my confidence. Time was pressing, and there was no room for overthinking. Drawing on the experiences I had gained from living on the Korean front line, I painted this piece with sincere devotion.Mao Zedong in Northern Shaanxi——————————————————————The studio at Lianhuachi was a spacious one formed by connecting three rooms, and I was the only one using it at that time. On the eastern half of the studio, I constructed the dwelling for painting The Orphan; along the western wall, I set up a horizontal frame—1.4 meters by 2.8 meters—stretched with a blank canvas, supported by tables. When the teacher came for the second visit, the canvas was completely empty. Once the oil painting The Orphan on the eastern side was moved to the auditorium of the Central Academy of Fine Arts in the city for the graduation exhibition of the Oil Painting Training Class on May 24th, work on the horizontal oil painting on the western side started immediately. This piece, created for the Art Exhibition Celebrating the 30th Anniversary of the Founding of the Chinese People's Liberation Army, was titled Chairman Mao In Northern Shaanxi. With less than three months left until the exhibition opened on August 1st, there was no time for other considerations, and I had to press forward with the painting.Comrades Xi Ye and Huang Pixing, who were in charge of organizing the creation for the 30th Anniversary Art Exhibition of the PLA's Founding, worked at No. 38 Langfang Toutiao outside Qianmen. I went to see them and expressed my concern that I might not finish the painting in time due to the tight schedule. They told me that the draft was excellent and urged me to hurry up, adding that I could even continue working on it during the preview if it wasn't completed by the official opening. As a matter of fact, I spent a whole day working on it during the preview held at the Cultural Palace of the Working People.Gao Hong Chairman Mao In Northern Shaanxi Chairman Mao In Northern Shaanxi depicts the life of the CPC Central Committee, led by Mao Zedong, who resolutely stayed in Northern Shaanxi during the most arduous and grim years of the War of Liberation. They shared joys and sorrows with the military and civilians there, united as one in the fight, and achieved a historic and great victory in the revolutionary war. I chose this period of wartime life as the subject of my painting because I had similar wartime experiences. I had visited and lived in the Mizhi and Jiaxian areas of Northern Shaanxi, through which the central authorities passed during their mobile operations, for more than two years. In 1956, I also took advantage of the summer vacation to conduct research and sketching related to this in Mizhi. Although the painting was done in a hurry, it basically conforms to the actual life of that time."The Donkey" 29.5x38cm Sketch on Paper 1956On the opening day of the exhibition, this painting caught the attention of many senior central leaders who had experienced the revolutionary wars. Comrade Xi Ye accompanied and received groups of these visitors as they viewed the exhibition. He told me: Comrade Yang Shangkun, Director of the Central Office, was delighted, commenting that Chairman Mao was portrayed exceptionally well in the painting—approachable, warm, and natural, perfectly capturing his inherent demeanor and bearing.This feedback was of great significance to me. It confirmed that my artistic judgment aligned with reality, boosting my confidence and inspiring me to keep forging ahead in my creative endeavors.Though Chairman Mao in Northern Shanxi was not exhibited at the graduation show of the Oil Painting Training Class at the Central Academy of Fine Arts, it was a fruit of the teaching of our instructor, Konstantin Maksimov, and a testament to his achievements during his teaching tenure in China.The Orphan was displayed at the World Festival of Youth and Students held in Moscow in 1957.Chairman Mao in Northern Shanxi exerted a far more extensive influence than The Orphan. In the following years, this painting was reprinted numerous times in countless newspapers, periodicals, and art albums, serving to introduce this inspiring chapter of history to the public.Teacher Maksimov—————————————In his lectures, Professor Maksimov placed special emphasis on students’ commitment to social progress and their solemn social responsibilities as artists, rather than indulging in unbridled self-expression in their works.He stressed that artworks should be "compelling" and that art must win the recognition and endorsement of the people.The extensive attention and positive acclaim garnered by Maksimov’s teaching at the Oil Painting Training Class stemmed from its perfect alignment with China’s national conditions and the aspirations of its people. For him, art was meant for the people—it was art that contributed to driving social progress forward.Art needs a people who love, appreciate and support it; in turn, the people need art that inspires and encourages them with valuable insights.We followed a correct path forward.Professor Maksimov’s personal charm was truly remarkable: he was approachable, amiable, lively and witty, excelling at inspiring and guiding his students. He was truly our mentor and role model.He urged artists to closely observe the rich and varied beauty of the magnificent natural world and to always create with passion.He emphasized the importance of wholeheartedly immersing oneself in life—to observe, understand, experience and care about people’s fates, and to delve deep into the human psyche.Looking back on our days of study at the Oil Painting Training Class, we extend our sincere gratitude to the four translators. They were not just linguistic facilitators—they were, in essence, our fellow classmates in art theory, and they had even taken the lead in mastering the knowledge before us.Imported Oil Paintings – A Retrospective Exhibition Of The Maksimov Oil Painting Training Program At CAFA (1955-1957)Exhibition Dates: November 15, 2025 – January 3, 2026Exhibition Venue: Exhibitions 1F/3A/4F, CAFA Art MuseumEditor-in-Chief / He Yisha Editor / Du Yinzhu
More

: Happy New Year 2026! Start The New Year with Art At CAFA Art Museum

2026-01-01

More

: The Last Day of 2025. Best Wishes To You, To Me, And To Us!

2026-01-01

The last day of 2025. Best wishes to you, to me, and to us!All the busyness in 2025Will lay the groundwork for surprisesMay in 2026, where the heart desires, the actions follow
More

: In the Age of Prevalent AI, "The Maksimov Training Program" Remains Mainstream | "CAFAM艺术+" to Premiere on New Year's Day 2026!

2025-12-31

Pilot film"CAFAM艺术+"Re-examining "The Maksimov Training Program":In the Age of Prevalent AI, Traditional Approaches Remain MainstreamBroadcast Time: 14:00 on January 1, 2026Guests: Jin Jun, Cao Qinghui, Hai JunBroadcast channels are listed belowChief Editor / He Yisha Editor / Du Yinzhu
More

: CAFAM New Year's Day Art Gift, Inviting You To Unveil 2026 | Open Announcement

2025-12-30

Dear Visitors,As the new year begins, may your days always bring fresh joy. As we welcome the year 2026, to accommodate public interest in visiting, our museum will remain open during the New Year holiday period (January 1-3, 2026). We look forward to seeing you as you begin this new year with fresh perspectives！In the meantime, to thank our visitors for your continued attention and support, we are delighted to launch our "New Year's Day Art Gift" event. Share your favorite piece from the CAFAM collection in our official WeChat account comments, and you could win one museum ticket. We will randomly select 20 lucky winners. The event ends on December 31st. You are not only viewers of art, but also participants and disseminators of artistic experiences. Join us in the comments section for an interactive experience!CAFA Art MuseumDecember 29, 2025On ViewDuring the New Year's Day holiday, the China Academy of Art Museum (CAFAM) will present multiple exciting exhibitions, covering the art from ancient to modern, and from traditional to contemporary. It will also specially plan public education activities on New Year's Day, which not only enrich the audience's viewing experience, but also integrate art into daily life.Editor-in-Chief / He YishaEditor / Du Yinzhu
More

: Forum Summary | Origin And Prism – Realism, Modernism, And Contemporary Painting

2025-12-29

December 11th, the first session of the academic forum series "Imported Oil Paintings – A Retrospective Exhibition Of The Maximov Oil Painting Training Program At CAFA (1955-1957)", titled "Origin and Prism – Realism, Modernism, and Contemporary Painting", was held at the Auditorium of the CAFA Art Museum.This academic forum features artists Liu Shangying, Liu Xiaohui, He Jing, Song Jiayi, and Wang Guangle in a dialogue, with Wang Jing, Deputy Director of the Curatorial Research Department of the CAFA Art Museum, serving as the host. Liu ShangyingArtist, Professor at the Central Academy of Fine Arts, Deputy Director of the Oil Painting DepartmentTeacher Liu Shangying shared his understanding and comprehension of the former Soviet Union's oil painting teaching system and painting characteristics based on his own learning experience. The "Soviet school" of oil painting advocates a scientific and rigorous system of light and shadow composition, excels at depicting direct and vivid life experiences, and has strong realistic features. Its paintings are rigorous and orderly, making them very easy for audiences to understand and engage with. Liu Shangying elaborated on the mutually complementary and highly unified relationship between "color" and "form" in the oil painting teaching system of the Maksimov Training Class. This focus on integrity has also been integrated into the long-term teaching system of the Central Academy of Fine Arts, with far-reaching influence. Even today, it still plays an important role in training students' creative cognitive abilities of "observing, understanding, and expressing".Exhibition siteSong JiayiArtist, Director of the Oil Painting Department, Academy of Arts, Capital Normal UniversityTeacher Song Jiayi talked about the historical origin and practical influence of "Su-style" oil painting in the oil painting teaching system of New China. He believes that Soviet experts represented by Maximov introduced the realistic creative spirit and materialist view of history into China's oil painting creation, laying an important foundation for the construction of a systematic teaching methodology. Faced with the rich oil painting creation systems in the art world in the mid-20th century, the introduction of the positivist philosophical perspective contained in Su-style oil painting is beneficial for Chinese artists to sort out the development context in contemporary, experimental and diversified painting languages, and find a foothold that combines national traditions and the characteristics of the times in the classical and modern world. It can be said that the Su-style oil painting teaching system represented by Maximov has broadened and improved the historical vision of Chinese modern oil painting and helped Chinese artists find their own creative direction.Exhibition siteLiu XiaohuiArtist, Professor at the Central Academy of Fine Arts, Deputy Director of the Mural DepartmentTeacher Liu Xiaohui introduced the important guiding role of Soviet-style oil painting in his early learning and creative practice. He believes that the holistic color system of Soviet-style oil painting integrates the scattered and random form and color languages in modern Chinese oil painting creation. With the progress of history, even from a contemporary perspective, there is still huge room for continuous deepening of the understanding of Soviet-style oil painting creation, which can lead to new understandings in the process of creation and teaching.Exhibition siteWang GuangleArtist, Graduated from the First Studio, Department of Oil Painting, Central Academy of Fine ArtsTeacher Wang Guangle also shared the inseparable connection between his personal creative history and Soviet-style oil painting, and his experience is highly representative. Soviet-style oil painting was crucial for breaking the tradition of "local oil painting" and initiating a modern understanding of oil painting creation, helping China's early realistic oil painting creation reach a new level. In Wang Guangle's current creative practice focusing on contemporary and abstract art, the traditional plastic stance represented by Maximov still provides ideological and conceptual guidance for painting expression in the new historical period. As the "origin" of contemporary painting, it will not only not become outdated but also accompany the new generation of young artists to go further.Exhibition siteHe JingArt critic, curator, Assistant Professor at the Academy of Arts & Design, Tsinghua UniversityProfessor He Jing elaborated on her understanding of Maximov and Soviet-style oil painting from the perspectives of a theoretical researcher and critic. Soviet-style oil painting represents not only a specific creative school but also a kind of creative thinking and method. It decomposes the learning, training, and creation of oil painting into stages and procedures that are easy to understand and master in a scientific and rational manner. This set of procedures has profoundly influenced Chinese oil painting creation both at that time and later. Behind this highly scientific teaching and creation method, it also reflects the major historical background and demands of Soviet-style painting adapting to the industrialization and modernization of the Soviet Union. Therefore, from this perspective, it was also highly in line with China's practical needs and the historical context of that era. In addition, Soviet-style oil painting introduced the consciousness of "collectivity" into China's oil painting creation—whether it is collective creation or the expression of creative content related to specific classes or groups. From this perspective, we can understand why Chinese contemporary oil painting after the 1980s saw a pivotal shift towards a focused attention on "individual" consciousness and individual care. Therefore, we should examine the Soviet-style oil painting system and its historical significance with a dialectical and historical attitude.Exhibition siteWang Jing summarized Maximov's system and methods as a "toolbox" for oil painting creation. In the process from tradition to the contemporary era, and from the collective to the individual, artists have drawn on the strengths of various sources in their practice. They have combined their respective life experiences and subjective understandings, and utilized the valuable thinking methods and paths provided by this toolbox to address different artistic issues and express different spiritual pursuits. The "Maximov Training Class" is not merely a history of higher art education for the exploration of the modernity of Chinese oil painting, but also the starting point of a set of realist aesthetic methodologies concerning "how to see," "how to construct," and "how to narrate." In the subsequent exploration of diverse and specific painting formal languages, some artists have explored modernism, pursuing connections between psychology, abstraction, and structure; others have continued the realist tradition, depicting new themes and opening up new painting dimensions belonging to the contemporary era. All these are individual expressions unfolded in China's own context starting from this "origin," reflecting a rich and varied range of artistic colors.Looking back from the present, in an art environment that has undergone drastic changes and become increasingly complex along with the real world, the realities of globalization, visualization, and medialization present challenges where multiple contexts intertwine and value systems are fluid. How to address and express these complex modern situations, and achieve creative transformation and expression by integrating the characteristics of the times and contemporary values, is a crucial question facing contemporary artists. At this level, the systematic methodology emphasized by the "Maximov Workshop" – which prioritizes reality, observation, and personal experience – along with its inherent materialist and empirical rational perspective, provides an important ideological tool for navigating the fragmentation and chaos of contemporary visual culture. It teaches artists how to establish order amidst chaos, extract structure from phenomena; express contemporary situations and embody the spirit of the times.Exhibition siteToday, when we look back at the "origin," we are not seeking to replicate the historical style of Soviet-style oil painting, but rather to flexibly adapt the realistic ways of seeing and constructing it. This prism not only illuminates the path forward, but also refracts new directions toward the future. "Origin and Prism" signifies that history is not a closed legacy, but a resource that remains always open— in the modernist long march of Chinese oil painting itself, those fundamental questions of how to see, how to construct, and how to narrate still echo vividly at every moment.This exhibition will continue to be on view until January 3, 2026, and welcomes visitors.Imported Oil Paintings – A Retrospective Exhibition Of The Maximov Oil Painting Training Program At CAFA (1955-1957)Exhibition Dates: November 15, 2025 – January 3, 2026Exhibition Venue: Exhibitions 1F/3A/4F, CAFA Art MuseumEditor-in-Chief / He YishaResponsible Editor / Du YinzhuEditor / Yan Yuxi
More

Child Public Education Reservation Form

*
Event name
*
Event time
*
Gender
Male

Female
*
*
*
*
*
*
Do you need any accessibility service?
Wheelchair service

Volunteer service

I agree to the Group Visit Agreement and Statement Please agree to the Group Visit Agreement.

Submit

Adult Public Education Event Reservation Form

*
Event name
*
Event time
*
*
Gender
Male

Female
*
*
*
*
*
Do you need any accessibility service?
Wheelchair service

Volunteer service

I agree to the Group Visit Agreement and Statement Please agree to the Group Visit Agreement.

Sumbit

Group Public Education Event Reservation Form

*
Event name
*
Event time
*
Group type
University

Institution

Group
*
*
*
*
Participating group type
Children

Youth

Adult

Seniors
*
*
Wheelchair service

Volunteer service

I agree to the Group Visit Agreement and Statement Please agree to the Group Visit Agreement.

Submit

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

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.

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.

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.