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林達川 |
Biography |
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| Lin Da Chuan | |||
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(1912-1985) A native of Xinhui Prefecture, Guangdong Province, he studied in Hangzhou National Art Institute in his early years. He went to study in Japan in 1932 under great masters Baihara Ryuzaburo and Yasui Sotaro. Upon his graduation from National Arts Institute of Japan (the present Tokyo Arts University) in 1942, he became a professional painter in Japanese painting circles. As a member of Japan Artists Federation, his painting works frequently took part in exhibitions held in Japan. In 1949, his work “Scenery in front of the Window” won special honor in the Fifth Art Exhibition in Japan. Later he was awarded other honors. In the same year, he held solo show at Ginza and published his picture album. After the founding of the Republic, he resolutely returned to China with his whole family in 1953 and taught in Zhejiang Institute of Fine Arts. He began his long career of transplanting what he had learned in Japan in the Western oil painting on Chinese soil. He sought neither profit nor fame, but life without art to him was inconceivable. Being diligent in his paintings, always enjoying it and never be bored with it, he worked quietly in the field of art which belonged to him exclusively. Production of genuine art is conditioned by a state of purity, carefreeness and openheartedness. Mr Lin was just the artist who intentionally or unintentionally entered the optimum state of creative art. He painted with ease and was content with his lot. Relying on his ardent love for natural life, he dwelled on absorbed dialogue with the object of painting and made his work a true reflection of his mind. He kept on exploring the art of oil painting, and in his life span, he produced nearly one thousand pieces of art works, of which China Art Gallery, local museums and art research organs abroad collected a part. His works lay stress on expression with light brushwork, rich colorful palette, permeated with a breath of clarity, joy and nature. They are full of life and meaningful and thought provoking. He respected the inspiration bestowed by nature and seized the feeling timely and swiftly captured the subject matter’s image, romantic charms, momentum as well as light and color. His brushwork was lively and at random likes the Chinese ink and wash painting. Often could he get his work done at one go? In his later period, his works were more matured in the style of Western impressionist infused with Chinese traditional painting charm, realizing an artistic effect of integrity. In 1994 a joint exhibition with Hu Shanyu was held by the Oriental Arts Foundation in Hong Kong. In the same year the Central Academy of Fine Arts published his oil painting album. | ||
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