叶浅予 藏族舞女图： 纸本 设色 挂轴： Size:48x96cm 钤印：浅予（白文） 题识：AAAAAAAAA 拍品来源：北美洲书画藏家 珍藏。 叶浅予（1907年3月31日—1995年5月8日），原名叶纶绮，笔名初萌、性天等，浙江桐庐人，从事国画教育，以舞蹈、戏剧人物为主的国画创作，中国漫画和生活速写的奠基人。 曾任中国美协副主席，中国文联委员，中国画研究院副院长，中央美院教授。擅人物、花鸟、插图、速写等。曾为茅盾小说《子夜》、老舍剧本《茶馆》等书插图，出版个人画集多种。 创作长篇漫画《王先生》、《小陈留京外史》、组画《天堂记》等，著有《画馀记画》和《十年恶梦录》 。 叶浅予的艺术宗旨是自强不息。他一生勤奋，作画千千万，出版画集文集几十种，晚年“画思渐稀文思寄，细叙沧桑记流年”，还写成了一生的回忆录，连童年的事也补成，准备修订时补入。诗志言，他还不计平仄写起旧体诗来。诗如其人，类皆透明。 艺术成就： 第一类是漫画。以长篇连续漫画《王先生》开其端，《小陈留京外史》发于中，《天堂记》殿其后。 第二类是速写，叶浅予的速写，在画界无出其右。他从30年代起就速写本子不离身。那是从墨西哥漫画家珂佛罗皮斯处学来的。速写本成为画家的形象库。浅予速写，自然以舞台人物最有名。年轻一代人认识浅予艺术是从他五六十年代发表在报刊上的舞台速写开始的。他的速写，大部分是用铅笔线，从《天鹅湖》开始用水墨改画，线条减至无可再减，堪称减笔大师。 第三类是舞蹈人物画。40年代，叶浅予离开漫画，走向国画。第一批作品便是他访问印度归来所作的印度舞画。他用敦煌壁画和佛画的手法画天竺舞，用色厚重，线条工整流畅，有点壁画风。对这批画，徐悲鸿的评语是：“浅予之国画，如其速写人物，笔法轻快，动中肯綮。”宗白华的评语是：“浅予的印度舞面，是古典美与现代美的结合。”到了60年代，他的笔墨解放，出现了画舞的高潮。代表作如婆罗多舞和献花舞，和阗装和夏河装，画上人物洒脱、妩媚、奔放，画界咸谓浅予舞画，60年代是高峰。可惜一阵政治狂飚，打落了他的画笔，掐断了他的艺术黄金时期。70年代后期，他重握画笔，把全部感情倾注到家乡的山水人物。他以两年之期，三易其稿，画成《富春山居新图》长卷，以后又再画《富春人物画谱》百本，老笔纷披，重见他30年代画漫画时的姿肆笔墨。这时期，他不以画舞为满足，尝试国画与漫画的融合，《长安怀古》四题便是。半坡纹、马嵬坡两题，都是有点漫画味。黄苗子说有点马蒂斯味，这当然是画家寻求绘画形式色彩中的一种巧合。 -------------------------------------- Ye qianyu Tibetan dancer painting: paper colored hanging scroll: Size:48x96cm stamp: shallow yu (baiwen) title: AAAAAAAAA lot source: north American painting and calligraphy collectors collection. Ye qianyu (March 31, 1907 -- May 8, 1995), formerly known as ye lunqi, was born in tonglu, zhejiang province under the pen names of chu meng and xing tian. He was engaged in the education of traditional Chinese painting, the creation of traditional Chinese painting based on dance and drama characters, and the founder of Chinese cartoon and life sketch. He was once the vice chairman of China association of fine arts, member of China federation of arts and literature, vice President of Chinese painting research institute, and professor of central academy of fine arts. Good at figures, flowers and birds, illustrations, sketches, etc. He has illustrated MAO dun's novel midnight and Lao she's play teahouse, and published a variety of personal collections. He created full-length comics Mr. Wang, a history of xiao Chen's stay in Beijing, and a group painting heaven records. Ye qianyu's artistic aim is self-improvement. He worked hard all his life, painting thousands of pictures, publishing dozens of collection of paintings, his late years, "painting thoughts gradually sparse writing, detailed narrative of the vicissitudes of life", but also wrote a lifetime of memoirs, even the things of childhood also made up, ready to revise when the supplement. Poetry zhiyan, he also did not even write the old style poetry. Poetry, like people, is transparent. Artistic achievements: The first category is comics. With a long series of comics "Mr. Wang" to start its end, "Chen left Beijing history" issued in the middle, "heaven" after the temple. The second kind is sketch, ye qianyu's sketch, in the painting world without its right. He has had a sketchbook with him since the 1930s. It was learned from the Mexican cartoonist coflopis. The sketchbook became the artist's library. Shallow to sketch, naturally to the stage character most famous. The younger generation began to know shonyu's art from his stage sketches published in newspapers in the 1950s and 1960s. Most of his sketches were written with pencil lines. Starting from swan lake, he began to use ink painting to reduce the lines to a point where they could not be reduced any more. He is a master of brushwork reduction. The third category is dance figure painting. In the 1940s, ye qianyu left comics and went to traditional Chinese painting. His first works were Indian dance paintings made after he returned from his visit to India. He used the techniques of dunhuang frescoes and Buddha paintings to paint the tianzhu dance, with thick colors, neat and smooth lines, and a little mural style. Xu beihong's comments on these paintings are as follows: "a light Chinese painting, like its sketch figures, is light in its brushwork and moving in its contents." Zong baihua's comments are: "shallow Indian dance face, is the combination of classical beauty and modern beauty." In the 1960s, his pen and ink were liberated and there was a climax of painting and dancing. Representative works, such as the bharata dance and the flower arrangement dance, and the khotan dress and the summer river dress, painted figures free and easy, charming and unrestrained, the painting circle is salty and shallow to dance painting, the 1960s is the peak. But a political frenzy knocked down his brush and cut short his artistic golden age. In the late 1970s, he grasped the brush again and poured all his feelings into the landscape figures in his hometown. He in two years, three easy draft, painting into the "fuchun mountain new map" long volume, later and again painting "fuchun figure painting spectrum" 100, the old pen is covered, to see him in the 1930s drawing cartoons when the posture of pen and ink. During this period, he was not satisfied with painting and dancing, but tried to integrate traditional Chinese painting and comics. Banpo wen, ma wei two issues, are a bit comic taste. Huang miaozi said that there is a little Matisse taste, which is of course a coincidence in the painter's pursuit of painting color.