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2824
紙本 水墨
1925年作
簽名：抱一，紫蘭合作 1925
鈐印：陳抱一印（朱）關(guān)紫蘭 （朱）天覽（朱）
Chen Baoyi (1893-1945) and Guan Zilan (1903-1986) Plum Blossom
Ink on paper
Dated 1925
Signed 'Baoyi' and ' Zilan' in Chinese and dated, with three red seals of the two artists
120×26cm
RMB: 15,000-25,000
陳抱一，1893年生于廣東新會(huì)。自幼喜愛西洋畫，1915年參與發(fā)起組織最早研究西洋畫的東方畫會(huì)。曾兩次東渡日本，先后就讀于白馬會(huì)洋畫研究所，東京川端繪畫學(xué)校，受歐洲后期印象派與新現(xiàn)實(shí)主義影響。1921年于東京上野美術(shù)學(xué)校畢業(yè)回國(guó)，發(fā)起創(chuàng)辦晨光美術(shù)會(huì)。1925年與蔡元培等創(chuàng)辦中華藝術(shù)大學(xué)，與丁衍庸負(fù)責(zé)西畫科。曾先后任上海圖畫美術(shù)院、立達(dá)學(xué)園美術(shù)科、神州女子學(xué)校藝術(shù)科、新華藝術(shù)專科學(xué)校等西畫教授，上海藝術(shù)專科學(xué)校西洋畫系主任，與徐悲鴻、顏文樑、朱屺瞻等組織默社。
Chen Baoyi, whose ancestral home is in Xinhui, Canton, was born in 1893. He was China's first generation of oil painter, art theorist and educator who had studied in Japan. In more than thirty years of his Western-style painting career, he, together with many others such as Liu Haishu, Guan Liang, Xu Beihong, organized societies and studios to promote the teaching of sketching and painting. With the support of Cai Yuanpei, he established Chinese Art University together with Ding Yanyong. He was closely connected to the development of Shanghai's art movements in the 1930s by taking up a number of key positions in art institutions.
關(guān)紫蘭，1903年生于上海，祖籍廣東南海。1927年畢業(yè)于上海中華藝術(shù)大學(xué)西洋畫科，同年赴日本留學(xué)，入日本東京文化學(xué)院。早年師從陳抱一，并與日本具有現(xiàn)代藝術(shù)傾向的油畫家藝術(shù)家有島生馬、中川紀(jì)元等人過從甚密。其作品曾多次入選日本“二科”美術(shù)展、上野美術(shù)展、兵庫(kù)縣美術(shù)展。1930年日本政府將其油畫《水仙花》印成明信片在日本發(fā)行。回國(guó)后多次在上海舉行個(gè)人油畫展。上海文史館館員，中國(guó)美術(shù)家協(xié)會(huì)會(huì)員。中國(guó)民初西洋美術(shù)的開拓者，“中國(guó)早期杰出女油畫家、藝術(shù)家”。作品被中國(guó)美術(shù)館等藝術(shù)機(jī)構(gòu)收藏，并入選美國(guó)藝術(shù)研究會(huì)出版的《世界名畫集》、《中國(guó)油畫》、《中國(guó)油畫百年圖史》、《20世紀(jì)中國(guó)油畫展作品集》、《當(dāng)代中國(guó)油畫》、《失落的歷史——中國(guó)女性繪畫史》等大型油畫冊(cè)。
Guan Zilan was born in Shanghai in 1903 and her ancestral home was Nanhai, Guangdong Province. She graduated from the Department of Oil Painting of Shanghai University in 1927. In the same year, she pursued her study in Japan where she attended several important art exhibitions. Affected by Fauvism, she was one of the pioneers of western painting in China then. In 1930, her oil painting Narcissus was published as postcard by Japanese government. After returning home, she held solo exhibitions many times in Shanghai. Her works are collected by National Art Museum of China and selected into large-scale oil painting albums such as World Famous Paintings, Chinese Oil Painting, Chinese Oil Painting Collection of the 20th Century, etc.