Page 97 - 二十世纪艺术夜场

ARTIST BIOGRAPHIES 艺术家简历

graduating in 1946, he served as an assistant teacher to Xu Beihong, the president of the
National Academy of Fine Arts in Beiping, and in 1949, he assisted Xu Beihong in establishing
the Central Academy of Fine Arts, where he taught Jin Shangyi, Wang Yidong and other artists.
After the establishment of the Central Academy of Fine Arts in 1950, he was hired as one of the
first lecturers and created the oil paintings "Peace Signature" and "Peasant Group Meeting". In
the same year, "Peace Signature" and "Horse-drawn Carriage" were selected for the China Art
Exhibition. He went to the Soviet Union, the Democratic Republic of Germany and Poland for
exhibitions, and went to North Korea twice in 1954 to sketch in the field.
From 1956 to 1961, he created the oil painting "Nanchang Uprising" for the Military Museum,
and the oil painting "Victory Procession", "Langfang Victory" and "Taiping Army Defeats the
Foreign Guns" for the National Museum. At the same time, he also created many oil paintings
on historical subjects such as "The Battle of Interwestern Water" and "The Great Victory at
Langzhan", which were published and distributed nationwide as wall charts for teaching history
in secondary schools.
In 1963, he went to Tibet for a year of sketching and created works such as "Three Sisters",
"Spring Farming", "Linga", "Sharja Bear Sister Village" and "Sowing".From 1969 to 1970, he
was invited by the Chinese History Museum to recreate "The Boxer Rebellion" and to recreate
works on historical themes such as "The Battle of the Interwar".
From 1972 to 1973, he participated in the painting group of the State Council Hotel, and worked
with Li Bitchan, Li Keran, Wu Zuoren, Liu Ji Wine, Liang Shounian and Wang Shuhui to create
works for the auditorium of the Chinese People's Political Consultative Conference and many
other state hotels.¡In 1982, his oil paintings such as "Under Bayankara Mountain", "Bauhinia",
"By the Lake of Namibia" and "Honeysuckle" were collected by the National Art Museum of
China.Since the reform and opening up, he has always been working on realistic art and has
been on the road of perseverance."

方君璧 (1898-1986） 生于清光绪二十四年，福建闽侯人。出身于名门望族。1912年，方君璧14岁到法国留学，作为第一位中
FAN TCHUNPI 国女性考入国立巴黎高等美术学校。二十年代的中国，在社会上崭露头角的女性画家微乎其微，方君璧是
当时极少数（仅有关紫兰、蔡威廉、潘玉良等几位）之一。1924年方君璧的作品《吹笛女》作为第一幅
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中国女性的作品入选巴黎美术展览会，当时巴黎各报竞相刊登她的照片和作品，被誉为“东方杰出的女画
家”，同一时期的代表作品有《拈花凝思》。1925年回国在广东大学执教，其艺术极为岭南艺术界所推
重，国民政府以巨金购得她的作品，挂于中山纪念堂。1926年方君璧重游法国，在国立高等美术学校校长
勃纳尔画室进修两年。1933年与丈夫曾仲鸣回国，除油画外，她还开始画国画。抗日胜利后，方君璧举办
了轰动上海滩的大规模个人画展。1949年去法国，后移居美国。1972年回国，周恩来总理接见了她。1978
年作为第一个海外的中国画家被邀请在美术馆举办画展。1984年巴黎博物馆为她举办了“方君璧从画六十
年回顾展”，给予这位在巴黎起步的东方女画家的业绩以充分的肯定。

Fang was born into a prominent family in southeast China's Fujian Province in 1898. In 1920,
she went to the National School of Fine Arts in Paris, making her the first Chinese woman to
be enrolled there. In 1924, Fang displayed her painting, The Flute Player, at an art exhibition
in Paris called the Spring Salon. The painting was subsequently featured on the front cover of
Paris Illusrte magazine, an established fine arts magazine. Her debut at the salon garnered
Fang much media attention, with local newspapers reporting her as the first Chinese woman
in the salon and hailing her as the new “Outstanding Female Talent from the East." In 1930,
she again returned to China and began to study Chinese traditional painting techniques from
Gao Jianfu and Gao Qifeng, two of the most established Chinese artists who were at the time
working on a way to add Western elements to Chinese painting.