When it comes to painters, I think many people will be interested, so what are the inspirational stories about famous painters? Here are the inspirational stories of famous painters that I have organized for you, for your reference!
Famous painter's inspirational story: painter Dufy
Dufy was born in 1877 in Normandy, France, in a cold family, his father operated a metal store for others, relying on the meager income to support eight children. His father ran a metal shop for other people and supported his eight children on a meager income. His mother was unemployed and struggled to keep up with the family's household chores. Dufy's father had a passion for music and often played the organ, filling the house with music wherever the family went. Naturally, music became Duffy's lifelong favorite and an important subject of creation, from which he received unlimited inspiration and free imagination. In order to support his family, Dufy was forced to work as a low-level employee in a coffee shop at the age of fourteen, and was often dispatched to the docks and harbors to do some heavy manual labor. The heavy labor did not crush his optimistic nature, and he later recalled this episode by saying: ? I could tell by smelling that odor whether the ship was from Texas, India, or the Azores, and it was something that fired my imagination. I used to rejoice on the bridge or on deck at the distinctive light that shot out into the bayou?
Driven by these colorful impressions of life, young Dufy could not resist the passion to paint them, and in 1892, at the age of fifteen, he entered an art school in his hometown, where he had to work during the day to earn a living and join night classes to study painting in order to raise enough money to pay for his tuition. Traditional training methods and the strict demands of his teachers gave Dufy a solid academic background at the art school, and soon he was able to sketching the features of his subjects with a few skillful strokes. Unable to pay rent and modeling fees, he huddled in the basement with longshoremen, depicting his parents, family and friends as his subjects. On sunny days, he set up his easel on the deck, by the beach, on the country road, in the courtyard of the farmhouse, and depicted the delightful scenery of his hometown. At this time, his free imagination and his talent for capturing the vividness of nature became apparent.
In 1900, Dufy was welcomed into the colorful Parisian painting scene. At this time, Dufy had mastered the techniques of the Académie, but his spirit of creativity, which was not confined to the established method, was at odds with the teaching guidelines of the Académie. For many years afterward, Dufy was often skeptical and reserved about the academy's teaching, believing that ? The true artist always works outside the confines of the official organization, and the teaching of a well-established system such as the Academy is often irrelevant to the making of the artist and the encouragement of the artist's spirit of originality? During the period 1900?1904, influenced by the Impressionist trend, Dufy was passionate about open-air painting and the study of light and color, depicting the bustling places such as the Paris market streets and the Normandy waterfront, with obvious traces of Impressionism in his approach. However, he gradually realized that he could not find his true self while painting with this impressionistic approach. He asked himself: with what I have now, how can I show what the object is, rather than what I see? What existed before me, was it my reality?At the Salon des Indépendants in 1905, Dufy's thoughts were greatly shaken by Matisse's new painting Luxury, Serenity and Joy, which showed him the miracle of the insistence on the absolute imagination of painting and color. the miracle of insisting on the absolute imagination of painting and color? In this way, Dufy came to his Fauvist period.
The leap to Fauvism did not stop Dufy from exploring the geometric structure of trees, objects, and human figures, and began to explore the road of Cubism. 1908, Dufy and Braque painted side by side in Istik, where Cézanne worked, and created The Green Tree, The Fisherman of Napoleon, and other works, which are simple, geometric, and simple in character. works with stark, geometric images and cool, restrained colors. Cubism did not keep Dufy at bay for long, and he was never bound by any mode of creation, as he himself said: I don't follow any system, and when the moment of creation comes, the laws that everyone follows are cast aside. Through continuous artistic practice, Dufy's work became more and more extraordinary after the 1920s. He often covered the picture with large swathes of color, sometimes the color ran out of the image, sometimes it was not painted all over, and the color and shape did not interfere with each other, but also echoed each other. This unique treatment is also known by many as "Dufay style". Dufy's style. During this period, Dufy's art reached its highest point. Representatives of the "pasture", "boat race", "racetrack", "symphony orchestra" and so on.
In the later years of his life, Dufy began to simplify his paintings. He gave up contrasts and replaced them with single tones that dominate the whole picture, supplemented by small patches of related gray, extremely simplified colors, but still full of tension. On his deathbed, he continued to explore, telling an old friend: "I still want to experiment with the traditional teachings. I still want to experiment with the contrasts and harmonies of those tones that tradition teaches us to reject, to see what they are all about.?
Throughout the long history of Dufy's art, we find that it is difficult to fit Dufy into a fixed genre, which may be the artist's own desire, because great artists always want to get the most freedom to play, and never want to draw a blank. Dufy in his teenage years can already master the subtle realism techniques passed down from the masters of classicism, but he did not complacent, and successively wandered in the impressionism, post-impressionism, fauvism, cubism, etc., until the creation of a unique style of Dufy? Dufay style? which ushered in the most brilliant period of his artistic career. However, Dufy did not stop pursuing, he drew nourishment from oriental art, purified the color, simplified the composition, and changed his style. In addition to painting, he also painted tapestries, firing porcelain, design clothing, in the world of art to fly freely.
Inspirational stories of famous painters: Wu Guanzhong's artistic lifeOn the road to art
In 1919, Wu Guanzhong was born in Yixing, Jiangsu Province, his family's poor, after graduating from high school, entered the junior high school in Wuxi Teacher's Training Center, by virtue of the excellent results, almost every semester, won the scholarships of the Jiangsu Provincial Department of Education.
In 1934, Wu Guanzhong, with the ideal of industrial salvation, was admitted to the Electrical Engineering Department of the Industrial School of Zhejiang University, but a freshman inter-school joint military training changed his fate. At that time, he met Zhu Dequn of Hangzhou Art College, who took him to visit the Hangzhou Art College and suggested that he, who loved painting, should give up his electrical engineering major and specialize in art.
Two years later, Wu Guanzhong entered the Hangzhou Art College as he wished, and under the inspiration of the principal Lin Fengmian, he embarked on a journey of ? He was inspired by Lin Fengmian, the principal of the school. The path of art is to integrate the East and the West.
Searching for the wheat field in his heart
In 1946, the Ministry of Education of the then National Government selected international students to study in Europe and the United States, and Wu Guanzhong, with the first place in the national painting specialty, obtained the qualification of the highest art school in France at public expense. The National School of Fine Arts in Paris.
Wu Guanzhong opened a magnificent door for his art world. The darkness and corruption of old China and the lack of attention to art stung his heart, and he dreamed of making it big in France and never returning home.
Wu Guanzhong began to learn to paint like crazy, as soon as he had time to the Louvre. In addition to the Louvre art history school lectures, is to visit museums, large exhibitions and large and small galleries. So many galleries, each constantly rotating exhibits, he turned every day, what he saw is still new every day.
Bookstores and old bookstalls on the banks of the Seine are also very attractive to Wu Guanzhong. In the evening, he went to the French school for tutoring, or to the Big Cottage studio to draw the human body sketches, the time schedule is tight, it is too late to eat, then buy bread with chocolate, eat while running. There were often dances in the university town at night, but he never participated in them. When he returned to his dormitory at night, it was past 10 o'clock, and he had to read French books for an hour.
In 1949, when international students traveling in Europe were about to finish their studies, Wu Guanzhong once again stood at the crossroads of his life, whether to stay abroad or go back to his motherland. Once, he came across the words of Van Gogh to his brother: ? You may say that there are flowers in Paris, and that you too can blossom and bear fruit. But you are wheat, and your place is in the wheat fields of your homeland.? It was this passage that made him realize that it was still his homeland that he loved so much.
Traveled all over the country? The first time I saw this was when I was a student at the University of California at Berkeley.
After returning to China, Wu Guanzhong sketched everywhere, he lived in shacks, broken temples, gnawing on dry buns, drinking river water, was once mistaken by passers-by as repairing umbrellas, beggars. He carried a heavy painting tool alone in the wilderness, from the East China Sea triangle to the border town of Tibet, from the ancient city of Gaochang to the island of seagulls, step by step to reveal the mystery of art to the people.
Wu Guanzhong's oil paintings are not completed in one place, often 10 miles, 20 miles to move places; easel box with oil paintings together with the shoulder, he is like a mountain loader. Sometimes he relies on his hands to climb the roots of trees up the steep mountain tops for painting; finished painting, his hands holding the oil color is not dry painting, can not go down the mountain, so had to throw the first painting box, let it roll downhill, he is like a child sliding slide like from the slope slowly slide down.
North and South, frequent travel, his attainments in the field of art is increasing. 1992, the British Museum broke the practice of exhibiting only ancient relics for Wu Guanzhong organized? Wu Guanzhong? Chinese Painters of the Twentieth Century? In 2000, Wu Guanzhong was inducted as a corresponding member of the Académie des Beaux-Arts of the Académie fran?aise, the first Asian to be awarded this position in the 200 years since the establishment of the Académie fran?aise.
The poor? poor?
In the industry's view, Wu Guanzhong's spirit can be summarized by the title of one of his books, which is ?
In the industry, Wu Guanzhong's spirit can be summarized by the title of one of his books. He will be the structure of the Western form and the Chinese mood of the organic combination of flavor, the spirit and style of Chinese painting to the world. His paintings have fetched up to tens of millions of dollars in the auction market and have reached record highs time and again.
In 1999, Wu Guanzhong donated 10 paintings to the National Art Museum of China, and in 2008, Wu Guanzhong donated his favorite work, 1947? Yangtze River" donated to the Palace Museum, in addition, the Shanghai Museum of Art, the People's Government of Zhejiang Province and his alma mater China Academy of Art has also received his donation of many pieces of work. 2008, he will be 113 market value of 300 million yuan of works donated to the Singapore Art Museum, the director of the Singapore Art Museum, said that this should be the highest value of a donation received by the Singapore Public **** Museum.
However, the body of the great master of art, his study is less than 5 square meters, in addition to the wall of the two filled with albums and books on the iron shelves, is near the window of a slightly larger than a desk desk and a chair, chair pull open almost top of the bookshelf.
June 25, 2010, Wu Guanzhong quietly gone, no memorial service, no heritage disputes, all his paintings were donated to the country. He practiced the promise of living up to the promise of painting with his whole life, whether in art or in personality, he is a model for us to learn.
Inspirational stories of famous painters: Zhou Fang changed the paintingDuring the Tang Dynasty, one day, in front of the Zhangjing Temple in Chang'an, the capital city, people were bustling with activity. People gathered around a sketch of a mural painting, commenting on it and discussing it. Some praised its beauty, some accused it of flaws.
People are focused on looking at the painting, who did not notice a crowd of people behave differently, he did not look at the painting, but in the side of the ear to listen carefully to all kinds of discussion. This person is the author of the frescoes, named Zhou Fang, the word Jingxuan, is a famous painter in the Tang Dynasty.
At that time, Emperor Dezong of the Tang Dynasty ordered him to paint the frescoes of Zhangjing Temple, and after he accepted the task, he pondered over the idea carefully, sometimes even in his sleep, he was still thinking about how to paint. After he had finished his sketches, he could have finished them in one go, but Zhou Fang did not do so. He thought that rashness and haste would never lead to outstanding achievements, so he thought of an ingenious way to remove the tent covering the painting and let the people criticize and point it out.
Because Zhangjing Temple is close to the East Gate of Chang'an, it is a major thoroughfare for people from all walks of life, so Zhou Fang's paintings were widely commented on by the public. He followed these comments and made serious revisions, and the painting got better and better, and only after a month, when no one could find fault with it, did he finalize it. After the painting was completed, the audience was very impressed and rated it as a first-rate masterpiece.