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　　油画是 PG Soft Gaming 西洋画的主要画种之一，是从外来艺术发展成为中国绘画的组成部分，经历了漫长的学习、吸收和成长过程。油画家运用各种不同的笔触，刮刀、油画刀以及油的稀薄度来造成坚硬，松软，粗糙，细腻等等不同的质感。凭借厚重而耐看的色彩，油画成为了画中常青树。

　　周春芽 Zhou Chunya

　　豫园 Yu Garden

　　布面油画 Oil on canvas

　　272cm×204cm×2 2012

　　周春芽的巨幅油画《豫园》所绘的是“奇秀甲于东南”的上海豫园，期间深处，曲径通幽，百花含情，杨柳依依，遗世而独立。在此幅作品中周春芽借着流淌恣纵的笔触和明艳靓丽的紫色调，重温典雅的中国园林文化之中的诗意。细斟局部，若现绿狗、桃花、山石的的遗韵，远观又是整体的豫园本身，这就是新表现主义与中国传统情怀交织相容。阳光洒落，婆娑着岩石，使岩石的底部倒映出紫色的韵味，仿佛这紫岩如生命般呼吸着，石头的重量感恰似生命之重。周春芽以动写静、以藏显露、以油画语言烘托传统情怀，品之犹如一首用钢琴弹奏的传统名曲。

　　吴冠中 Wu Guanzhong

　　春秋 Spring and Autumn

　　木板油画 Oil on wood

　　48cm×58cm 1994

　　出版 LITERATURE

　　《天南地北风情——吴冠中画集》亚洲艺术出版公司 1994.PG电子 P29

　　《吴冠中精品选集》艺达作坊 新加坡 1996. P81

　　《吴冠中作品收藏集I》人民美术出版社 中国北京 2003. P198

　　《吴冠中全集4》湖南美术出版社 中国长沙 2007. P93

　　Panorama by Wu Guanzhong,电子试玩 Asia Arts Publishing, 1994. P29

　　Wu Guanzhong - A Selection of 128 Fine Works, Art Workshop, Singapore, 1996. P81

　　Wu Guanzhong Connoisseurs ChoiceNo.1, People's Fine Arts Publishing House, Beijing, China, 2003. P198

　　The Complete Works of Wu Guanzhong Vol.V, Hunan Fine Arts Publishing House, Changsha, China, 2007. P93

　　吴冠中先生历经数十年求索中西艺术，以西方油画媒介表现风景，超越材料和对象本体追求中国绘画意境，在他的《春秋》中可见端倪。画家自评：“枝条纵横，沼泽、牛羊、荒漠连天，春往秋来不记年。”画面中的颜色仿佛都是万物的残影，玄黄是沼泽，黑白是牛羊，远处灰色天际象征着荒漠。埋藏在一切之下的大地承载着这一切，似是倾诉着故土怀思；简洁色彩和朦胧意象，又似诉说着“逝者如斯夫，不舍昼夜”。言已尽而意无穷，令人遐思期间。

　　关良 Guan Liang

　　上海港 The Port of Shanghai

　　布面油画 Oil on canvas

　　52cm×63.5cm 1960

　　来源 PROVENANCE

　　原为香港佳士得2003年拍品

　　Christie’s, Hong Kong, 2003

　　展览 EXHIBITION

　　“关良画展”上海美术展览馆 中国上海 1982

　　Art Exhibition of Guan Liang, Shanghai Art Museum, Shanghai, China, 1982

　　出版 LITERATURE

　　《华人现代与当代艺术拍卖大典》典藏艺术家庭股份有限公司 台北 2004 P194

　　Chinese Modern and Contemporary Art Aution, Artouch Ltd, Taipei, 2004. P194

　　此幅油画作品《上海港》是关良风景类的又一力作，以上海港运作业为背景，轮船上的港口货物忙于装卸，上海滩呈现出一片繁荣。在1982年5月12日上海美术馆展出了此幅《上海港》，观众高达16193人次，紧接着21日上海美协还专门召集了关良画展座谈。这幅作品具有鲜明的东方神韵，意境深远，清新浓郁，更重要的这件作品还体现了浓重的时代精神，见证了上个世纪六十年在经济发展的过程中，上海这一特殊城市所体现出来的港口贸易繁荣景象，是中国经济发展的生动的历史记录，具有重要的历史意义。

　　庞茂琨 Pang Maokun

　　沉溺之四 Indulgence No.4

　　布面油画 Oil on canvas

　　160cm×200cm 2011

　　展览 EXHIBITION

　　“浮世.游观-庞茂琨艺术展”中国美术馆 中国北京 2013

　　Viewing the Floating World - Pang Maokun’s Art, National Art Museum of China, Beijing, China, 2013

　　庞茂坤的作品总能让观者自然而然地从凝视出发，自我审视转而向外索求。重要的不再是图像本身的直接阐述，而是艺术家对图像的选择，蕴含强有力的戏剧张力和时间、空间以及视觉上心理的错位感，引人思考，余音绕梁。

　　郭润文 Guo Runwen

　　画室中的女人体 The Female Figure in Studio

　　布面油画 Oil on canvas

　　91cm×72cm 2000

　　郭润文致力写实人物画已有三十余载，回首过往，他对求真创作的态度风雨不改。此幅作品人物形象质朴，描绘手法踏实严谨，似是画家“结庐在人境，而无车马喧”的写照。利用光线的细微变化描摹温润如玉的皮肤肌理，谱写一首属于光影的圆舞曲。

　　张晓刚 Zhang Xiaogang

　　夕歌 The Evening Song

　　木板油画 Oil on wood

　　28.5cm×45cm 1982

　　在《夕歌》中，描绘了弯弯的月亮浮在深邃的夜空下，一个披着斗篷的女人领着羊群。艺术家以表现主义的手法，蓝色与绿色为主旋律谱写了蕴含着纯朴气息的晚歌。张晓刚的艺术作品透露出对劳动者的关怀及超越现实世界的精神性。

　　邱光平 Qiu Guangping

　　单独者 A Loner

　　布面油画 Oil on canvas

　　120cm×160cm 2014

　　展览 EXHIBITION

　　“回眸之望——第一届中国艺术媒体年度提名展”中山博览中心 中国中山 2016.

　　“四三三”四川当代艺术生态实力展”基准方中艺术空间 中国成都 2015.

　　“墟境——邱光平作品展”西安美术馆 中国西安 2015.

　　“2014—2015首届重庆·四川当代艺术跨年展”重庆市文联美术馆 中国重庆 2014.

　　“文轩.新象——当代艺术百人邀请展”文轩美术馆 中国成都 2014.

　　Glancing Back - the first China Media nominated artists exhibition, Zhongshan Expo Center, Zhongshan, China,2016

　　Four Three Three’The Ecological Exhibition of Sichun Contemporary Art, JZFZ Art Space, Chengdu, China,2015

　　The Dilapidated Land - A Solo Exhibition of Qiu Guangping, Xian Art Museum，Xian,China,2015

　　Contemporary Art Exhibition of Across, Chongqing Literature and Art Museum,Chongqing, China, 2014

　　Winshare · The New Contemporary Art Invitational, Winshare Art Museum, Chengdu, China,2014

　　出版 LITERATURE

　　《墟境——邱光平作品》四川美术出版社 中国成都 2014. P58

　　The Dilapidated Land - A Solo Exhibition of Qiu Guangping, Sichuan Fine Arts Publishing House, Chengdu，China,2014, P58

　　洪凌 Hongling

　　黄山清雪 Snow White in Mountain Huangshan

　　布面油画 Oil on canvas

　　100cm×200cm 2006

　　洪凌一直探索将西方传统风景画，带入东方山水的意境，在东西方绘画融合的语境下得以当代展现。为了其中的精髓，洪凌隐居黄山30多年，在反复实践中探寻其艺术中的究竟。无论是雪压枝头，还是盛夏的山林；无论是冬日阳光退却后的寒彻心扉，还是烈日当空肆意生长的茂林，艺术家通过色彩运用将不同时节的风景以略带拟人化的方式展现出来。洪凌深受中国现代山水大师黄宾虹的影响，在自己的作品中将具象与抽象的绘画语言结合，将平涂式的旁白与重迭笔触的肌理结合，正如中国画中的“密不通风，疏可走马”，是其在中国当代艺术的舞台中独树一帜。

　　车建全 Che Jianquan

　　犹在镜中 As if in the Mirror

　　布面油画 Oil on canvas

　　100cm×75cm 2009

　　展览 EXHIBITION

　　“犹在镜中—车建全个展”华艺廊 中国广州 2010.

　　“富山国际艺术邀请展”富山县立近代美术馆 日本富山 2014.

　　“交流——广州美术学院师生油画作品展”俄罗斯圣彼得堡列宾美术学院意大利展厅 俄罗斯圣彼得堡 2015.

　　“融合的力量——当代中国心象艺术展”德国柏林中国文化中心 德国柏林 2016.

　　As if in the Mirror - Solo Exhibition of Che Jianquan, Holly’s Gallery, Guangzhou, China, 2010

　　Toyama International Art Fair, Toyama Prefectural Museumof modern art, Toyama, Japan, 2014

　　Communication - Guangzhou Academy of Fine Arts Oil Painting Exhibition, Repin, Academy of Fine Arts, Italy Exhibition hall, St Petersburg, Russia, 2015

　　Power of fusion - Contemporary Chinese Art Exhibition, Chinesisches Kulturzentrum Berlin, Berlin Germany, 2016

　　出版 LITERATURE

　　《犹在镜中—车建全画集》广东人民出版社出版 中国广州 2010.

　　《美术收藏》第四期 2009.

　　《中华博览》第五期 2010.

　　《名家关注》第四期 2010.

　　《第27届亚洲艺术双年展画册》2012.

　　As if in the Mirror - Album of Che Jianquan, Guangdong People’s Publishing House, Guangzhou, China, 2010

　　Art collection No.4, 2009

　　China Expo No.5, 2010

　　Ming Jia Guan Zhu No.4, 2010

　　The twenty - seventh Asian Art Biennale, 2012

　　冯峰 Fengfeng

　　鸭兔图 Duck and Rabbit

　　绢、纸、亚克力 Silk, Paper and Acrylic

　　136cm×70cm×2 2012-2013

　　出版及发表 LITERATURE & PUBLISHED

　　《中国当代艺术史1978-1999》 上海书画出版社 中国上海 2013. P448

　　《艺术当代Art China》上海书画出版社 中国上海 2013. P26

　　《设计之变/上海艺术设计展SHANGHAI ART & DESIGN 2016》上海人民美术出版社 中国上海 2016. P102

　　90s Art China, Shanghai Calligraphy & Painting, Publishing House, Shanghai China, 2013, P448

　　Art China, Shanghai Calligraphy & Painting Publishing House, Shanghai China, 2013, P26

　　Shanghai Art & Design 2016, Shanghai People's Fine Arts Publishing House, Shanghai China, 2016, P102

　　冯峰对艺术创作探索从不止境，涉及绘画、雕塑、装置、时尚设计等范畴。作品贯穿着一种对常识的怀疑和主题的拆分的思想流淌到各个领域。《鸭.兔》这个作品谱系和他对于语言、符号的思考有着密切关 联。而在他的作品中对语言、意义、符号和所指对象之间的关系的讨论，更是二十世纪西方哲学“语言转向”之后的一个核心论题。

　　邓国源 Deng Guoyuan

　　IN DEM BERG 在山中 No.10

　　纸本水墨 Ink on paper

　　122cm×122cm 2004

　　展览 EXHIBITION

　　“湖畔·花园——邓国源西太湖水墨、装置作品展”常州西太湖美术馆、刘海粟 夏尹乔艺术馆 中国常州 2016.

　　“在花园——邓国源当代艺术巡展”53美术馆 中国广州 2016.

　　“岭南美术馆——水墨绘画展”岭南美术馆 中国广州 2015-2016.

　　“在花园”德国路德维希博物馆德国科隆 2008.

　　“DISTANZ”德国盖温巴赫博物馆 德国 2005.

　　“长卷——世界寓言”天津三远艺术中心 中国天津 2010.

　　Lakeside · Garden - Exhibition of Ink Painting and Installation of Deng Guoyuan in West Lake, Changzhou Xi Taihu Art Museum, Liu Haisu and Xia Yinqiao Art Museum, Changzhou, China, 2016

　　Inside the Garden - Contemporary Art Touring Exhibition of Deng Guoyuan,53 Art Museum, Guangzhou, China, 2016

　　Lingnan Art Museum - Exhibition of Ink Painting, Lingnan Art Museum, Guangzhou, China, 2015-2016

　　Inside the Garden, Ludwig Museum, Cologne, Germany, 2008

　　DISTANZ, Bach Museum, Germany, 2005

　　The Long scroll, Tianjin Sanyuan Art Center, Tianjin, China, 2010

　　Contention of a Hundred Schools of Thought

　　Oil painting is the process of painting with pigments with a medium of drying oil as the binder. Commonly used drying oils include linseed oil, poppy seed oil, walnut oil, and safflower oil. Although oil paint was first used for Buddhist paintings by Indian and Chinese painters in western Afghanistan sometime between the fifth and tenth centuries, it did not gain popularity until the 15th century. Its practice may have migrated westward during the Middle Ages. Oil paint eventually became the principal medium used for creating artworks as its advantages became widely known.

　　As one walks deeper into the heart of the Yu garden, the view changes alone with his steps on a winding path, through which he will reach a secluded spot. In this painting, Zhou Chunya used confident brushstrokes, splendid and fresh purple color to review the culture of Chinese garden in a poetic way. The Green Dog series, Peach Blossom series and Stone series are contained in this Yu Garden,combined with neo-expressionism and traditional Chinese emotion. The breathing purple rocks are delivering the weight of life. This static landscape is portrayed by Chunya with a vibrant yet obscure language, which can be appreciated as a piece of piano classic.

　　Mr. Wu Guanzhong sought Chinese artistic conception through western oil painting which we can find out from his work ‘Spring and Autumn’. ‘Branches grow across while swamps flow along. Flocks and herds wander unconsciously into an endless desert. Spring passes while Autumn returns. Mortals collapse in years but generations and time go on.’ is the preface of the work.It seems that all colors in the work are the silhouettes of the objects mentioned. The yellow painting is swamp, black and white ones are flocks and herds, and gray is desert. It is as if to either sob in memory of the good old motherland or cry for the time flying. The underlying meaning make us ponder over it.

　　The Port of Shanghai is another master piece by Guan Liang. The painting depicts a busy day for workers using cranes and driving trucks to unload the goods from the cargo ship while the ship is moored in the Bund of Shanghai. The lines of the ship body, the truck and the human figures are rough, heavy and condense, which create a strong visual effect. On May 12th, 1982, The Port of Shanghai was exhibited in the Museum of Art in Shanghai, the exhibition attracted over 10 thousand viewers to come. Because the exhibition was impressive to people , Shanghai Art Association held a panel discussion about Guan’s artwork in the following days.This painting expresses the spirit of the time, and the conceptual way of eastern art. It is a scene of trading prosperity in Shanghai, and the testimony to Chinese economic growth history in the 1960s.

　　There is no doubt ‘gazing’ is a more powerful action than ‘observing’ since it reflects a highly sensitive insight and an in-depth concern to reality coming from the artist. In Pang Maokun’s Indulgence No. 4, the strong conflict and theatrical tension revealed on his work make usto rethink. It is apparent that visual connection is beyond its physical explanation as the ideas and time are transcending.

　　Guo Runwen has been devoted to realistic figure paintings over 30 years and his attitude has never changed. In this painting, he used meticulous brushwork to create a simple and unadorned female figure,and the delicate light changed her skin texture into velvety softness as jade.

　　In this painting, a woman is leading a flock of sheep in the forest during the night. The color blue and green are the major tone. Zhang Xiaogang used realist techniques to develop a quiet and rustic atmosphere. This painting contains a hidden meaning showing the caring love for the laborers.

　　Feng Feng has never lost faith in art making,and he has been making attempts on painting, sculpture, installation and fashion design with a theme to doubt common senses and to diffuse topical issues. There is an intimate connection between the series of Duck and Rabbit, and his conception of expression and symbolism, which is a new core issue discussed after the 20th-century linguistic turn in western philosophy.

　　Hong Ling has always been exploring the method of introducing traditional western landscape painting into eastern aesthetics bringing the fusion of the west and the east to his contemporaries. To conceptualize the theme, he lived in Mountain Huangshan to practice in seclusion. The artist expressed varied landscapes of different seasons through colors. Hong Ling has been influenced by Huang Binhong that he fuses figuration and abstract. He combines plain brush strokes and textured painting which makes him unique.

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