Page 266 - 二十世纪及当代艺术

艺术家简历 ARTIST BIOGRAPHIES

important institutions in China and abroad.
Tan Ping's work is strongly "purposeless and purposeful", emphasizing the place of
subconscious behavior in creation. Influenced by both Western Minimalism and traditional
Chinese Zen Buddhism, the artist specializes in subtracting from his paintings until he
abandons objects and moves towards pure abstraction. At the same time, he focuses
on the materiality and visuality of painting, which gives itself an independent value of
conceptualization, allowing art to transcend its status as a subordinate to philosophical and
sociological concepts, and to elevate from the materiality of the medium to the aesthetic height
of modernism. "Overlay" is the distinctive mark of Tan Ping's abstract works, which becomes
his private methodology and gives his creations a performative dimension. In the process
of overlaying and printing colors, the expressive power of painting becomes more uncertain
and transient, and eventually becomes a holistic experience of the whole time and space. Tan
Ping's works are always in a state of unfinishedness and restarting, and even a seemingly
perfectly finished picture is subject to subversion. This erratic overlay is an extreme situation of
destruction, but also a confrontation with the past, which rejuvenates the numb mind and soul.
Solo Exhibition:2019"Double Play: Tan Ping Retrospective", Yu Deyao Art Museum,
Shanghai;2018"Tan Ping 1993: The Beginning of Two Modes", Platform China,
Beijing;2017"Certainty in Uncertainty" Tan Ping Abstract Painting Exhibition, Lion Gallery,
Hong Kong;"......", Yuandian Art Museum, Beijing;"Tan Ping", Horsens Museum of Modern Art,
Horsens, Denmark;2015Solo Exhibition "Step", Tan Ping, Arizona State University Art Museum,
Tempe, USA;"Painting", Tan Ping Exhibition, Jingu Space, Beijing;2014Solo Exhibition of
"Step" by Tan Ping, Fangfeng New Art Space, Beijing, China;2013"Self-Talk" Tan Ping Painting
Exhibition, Meilidao International Art Institute, Beijing;2012"1 Plan" Tan Ping Solo Exhibition,
National Art Museum of China, Beijing, China;2011Tan Ping Printmaking Exhibition, German
Embassy, Beijing;Tan Ping Printmaking New Works Exhibition, Rhyme Gallery, Beijing;2010"20
Years of Tan Ping Printmaking" Tan Ping Printmaking Exhibition, Red Gate Gallery, Beijing;

唐蕴玉（1906-1992） 江苏吴江人。最初在上海神州女学美术科学习艺术，1927年应王济远之邀赴日深造，1930年进入法国巴黎
TANG YUNYU 美术学院学习正统的油画。她回国之时，正值以上海为中心的洋画运动趋于繁盛之时，她先后在上海美术
专科学校和新华艺术专科学校等校任教，并参加了重要社团“艺苑绘画研究所”。四十年代于上海大新画
Lot 1607
厅举办个展。为民国时期活跃一时的女画家之一。唐蕴玉晚年移居美国，自此便在国内画坛上音讯杳然。
唐蕴玉的油画更注重西画的中国化，在清新淡雅的景物表现之间，用中国画的手段介入油画，再以西洋画
的材料来画中国画，使中国画与西洋画艺术的表现互渗互融。这是唐蕴玉油画引起关注的焦点。作为少数
优秀的女性画家之一，唐蕴玉被称为“与潘玉良女士相伯仲”。她师从陈抱一、王济远等，凭借留日与留
法的传奇经历在第一届全国美展上展露风采，深得社会的嘉许。

Ms tang was born in 1906 in wu kiang county,Jiangsu province. She spent her high school years
in the fine Arts curriculum at shenzhou girls school in shanghai. After her graduation, ms. Tang
taught Fine arts at qixiu girls school in shanghai in 1927, she went to tokyo with the celebrated
poet Liu yazi and his wife, where she studied oil painting with French-educated Japanese
masters. She polished her skills in painting and was claimed a talented lady south of the Yangzi
river in china returning to china in 1930. She continued her creative work at the studio of senior
painter zhu jizhan and had sevaral personal exhibits and she left for France to to replenish her
fountain of creativity. Ms. Tang was one of the most popular female artists during Republican
period and moved to American spending the rest time of her life painting peacefully in her
studio.