来自圣彼得堡的画风

正"时空对话——上海·圣彼得堡油画联展"前不久在上海梅尔尼科夫美术馆展出。有以梅尔尼科夫为代表的25位俄罗斯列宾美术学院优秀艺术家的近50幅作品参展。上海也有32位优秀艺术家的32幅佳作展出。参展的来自圣彼得堡的作品都是艺术家们在生活中的艺术结晶,散发着浓郁的俄罗斯生活气     

俄罗斯油画精品亮相杭州

2015年3月6日,"俄罗斯特列恰科夫国家画廊藏品(1894-1980)特展"在杭州全山石艺术中心展出。这家国家画廊是闻名世界的美术馆,以收藏俄罗斯艺术家作品为宗旨。以一己之力建起画廊的帕·特列恰科夫(1832-1898)在去世前,将全部藏品捐献给了莫斯科市。十月革命后,苏维埃政府保留了特列恰科夫个人名字的命名,并予以巨大的财力支持,现在拥有8万多件俄罗斯艺术家的作品。本次展览展出56幅作品,反映了从1894年到1980年之间俄罗斯发生的社会大变革,反映了俄罗斯油画的繁荣发展。展览     

法国画家索菲画展别开生面

“法国当代女画家索菲·特德斯基作品展”前不久在浙江自然博物馆展出。索菲1988年毕业于巴黎国立高等美术学院。先后于1994年、1996年在中国美术馆举办过她的个人作品展。索菲在持续油画创作的同时,又尝试着钻研水墨画,她拜中国的国画家为师,并把学到的中国画技巧运用到她的画作中。此次共展出索菲水墨画、丙烯画作品53件,从中可见她别具一格的艺术特色。     

新时代浙江书画巡礼

9月29日,“丹心·丹青——庆祝中华人民共和国成立六十周年浙江省第十二届美术作品展览”在浙江美术馆开幕。来自全省的中国画、油画、版画、水彩、粉画、雕塑、壁画、漆画、陶艺、艺术设计、年画、动画、漫画、连环画、插图、综合材料等2163件作品参加展出。到会专家、市民反响热烈,称这些作品彰显了当代美术真善美的审美思想,展现了浙江美术创作的繁荣和兴旺。     

中西方艺术的和谐沟通——旅美青年画家韩梦云个人画展在京展出

本刊讯7月7日-21日,深圳青年旅美画家韩梦云个人画展《无定/In Between Islands》在北京今日美术馆展出。画家结合西洋传统油画艺术手法于中国山水和道法自然的无限无形,展示了抽象又彼此共振的世界,表达了中西方绘画艺术的和谐沟通。"无定"由四组油画组画、一组瓷板画与一组水墨画组成,分别是"洗心"、"游心"、"在     

用油画艺术弘扬长征精神

正2016年是长征胜利80周年,广大文艺家用各种文艺形式,以重要战役战斗、重大历史事件和重要人物为主体,创作了一批经典长征作品。油画艺术家精心设计了"遵义会议""飞夺泸定桥""过雪山草地"等大型主题,通过精彩的油画作品,展现了举世闻名的万里长征的光辉历史和英雄壮举,彰显了红军在长征中表现出来的坚定的共产主义理想、革命必胜的信念、艰苦奋斗的精神和一往无前、不怕牺牲的英雄气概,揭示了"不     

来源:寂静中的消失留存

因为工作间装修,和来源的见面假借在他朋友的画室。他特意搬来了两幅油画作品,其中一幅还没有最终收笔,却让人目不转睛：一位回眸的白衣女孩,眼神似乎在诉说欲语还休的故事,静谧,安宁。我好久地沉湎于画作的气氛之中,待回过神来,来源已沏好茶、备好椅,窗外雨声潺潺,话匣子就此打开。     

我负丹青 纪念吴冠中诞辰100周年展在杭举行

正吴冠中(1919—2010)是当代整合中西艺术的大家,他的创作代表着中国现代绘画的一个方向。为纪念吴冠中先生诞辰100周年,展示吴冠中先生的艺术成就和不平凡人生,宣传弘扬吴冠中对中国现代艺术发展的突出贡献,庆祝浙江美术馆开馆十周年,浙江美术馆于2019年8月9日至9月8日举办"我负丹青"——吴冠中诞辰100周年作品展。展览分吴冠中油画与墨彩画、速写、师友作品等三部分,展出吴冠中及其家属向浙江美术馆     

油画异彩醉金秋——第十二届全国美展油画展扫描

收获的季节。油画之花盛放西子湖畔 2014年9月20日上午,浙江美术馆,“第十二届全国美术作品展览一一油画作品展”开幕。在浙江美术馆宽敞的展厅里,参观的市民络绎不绝,其中不少人是从外地赶来的。从1200余件参评作品中遴选出的578件作品构思新颖、技法细腻、风格多样,值得一看再看。全国美术作品展览是我国美术界规格最高、规模最大的展览,每隔5年举办一次。它是新中国特有的文化现象,也是一代代艺者成长的深邃记忆。本届展览以“熔铸中国气派,塑造国家形象”为主题,分为中国画、油画、版画、雕塑等13个展区,其中油画展区花落杭州。展览将持续至10月12日。     

浅析中国画和油画的艺术特色

中国画和油画一直都深受许多艺术工作者以及艺术爱好者的喜爱,文章以审美的角度对中国画和油画各自的艺术特色进行了分析和比较。     

李克昌艺惊画坛

著名画家李克昌是当今画坛杰出的艺术家。我最初拜读李克昌的油画、国画和内画,就被其涉足之广和造诣之高而震惊,被其驾驭反差跨度如此大的画种之超凡功力所折服,真可谓：“内（内画）外（油画和国画）兼功得心,三管齐下应手。”而今年9月,在久负盛名的北京艺术殿堂荣宝斋举办他的美术作品展上,我又欣赏到他的雕塑和书法,原来不仅是“三管齐下”,简直是“五子登科”,（其实他还有美学研究）,更为其成就之大而倾倒。     

鄞州:文化养老乐融融

人口老龄化是一个全球性的问题,如何破解这一难题,浙江省宁波市鄞州区正在探索一条"文化养老"的路子,让老人由衷开怀。找到了新生活在寒气降临的季节,鄞州有一些文化活动倒是挺热,比如在区老干部活动中心,一个叫蔡明的耄耋老者和其他几位年龄相仿的书画同好,办了一场展览。     

The Re-emergence of The Forty Martyrs of Sebaste in the Church of Saint Peter and Paul,Famagusta, Northern Cyprus

This article presents the first study of a painting, possibly the Forty Martyrs of Sebaste, which has been concealed for over 500 years, and which has, this century only, re-emerged through plaster removal in the church of SS. Peter and Paul in Famagusta, N. Cyprus. Though very badly damaged the painting, which has remained undocumented and unstudied in the history and art history of Cyprus, may offer vital clues concerning internationalism and cultural interaction in Cyprus in the 14th and 15th centuries. It also offers specialists a rare glimpse at Italian ecclesiastical wall painting from this rich period in western art history, and makes clear the intellectual loss that might be felt if some basic conservation processes are not begun soon. Lastly, in the light of the changing political situation in that island it invites scholarship in a range of disciplines to the church and to other historic landmarks within the old city walls.     

薪火相传 飞彩凝辉——记“为艺术战—浙江美术馆藏品展”

浙江人文荟萃,艺术创作尤其繁荣,自南宋以来即为中国书画重镇。"南宋四家"(李唐、刘松年、马远、夏圭)、赵孟頫、黄公望、徐渭、陈洪绶、任伯年、吴昌硕等都是在中国美术史上无论如何也绕不开的大师级人物。1927年11月,蔡元培选址杭州西子湖畔,于次年建立了中国第一所综合性国立高等艺术学府——国立艺术院(中国美术学院前身)。从此,20世纪的浙江美术发展历程就与这所高等学府相辅相成,可以说是"同呼吸,共命运"。浙江为中国美院的发展提供了良好的传统艺术积淀和氛围,以及众多的优秀师资、生源,而中国美院     

商亚东:将浪漫隐藏于冷峻色调中

我一走进商亚东的画室,就感觉明亮、静谧.他时常独自躲在这里自由作画,呆上一整天的辰光,待到钱江边升起余晖才归去.一幅幅随意摆放的油画泄露着他的复杂情感.驻足画前,我在笔触的层层相叠交织中,揣测画面中人为何人、心有何想,接着又揣测作者创作时的心思.     

29年作幅画——画家顾盼和他的代表作

著名油画家顾盼的代表作《1975·5·3》,是一幅前后经历29年,最终于2006年才完成油画作品,其问有这样一段情结。1977年,当时任浙江省美术家协会秘书长的朱琦负责选送浙江美术作品参加全国美展。若干年中,省里没有重大题材的优秀作品可选送晋京,他就找到当年在《工农兵画报》社负责领袖形象修改、加工的顾盼,在那个“政治氛围”极浓的年代里,自然考虑到当时最热门的话题一一毛主席批“四人帮”。     

Integrated reflectography and thermography for wooden paintings diagnostics

The need of inspecting a masterpiece of fine art without affecting it led to develop non destructive methods of investigation. In the field of art conservation, several diagnostic techniques are being widely used to inspect works of art, giving different but complementary results. The present work deals with two of these methods, reflectography and thermography, both techniques examining objects in the infrared spectrum but in different wavelength bands. Their integrated data potentially provide a powerful tool for mapping hidden features and alterations of artworks. This was confirmed during the inspections of a 13th century panel painting under restoration at the Opificio delle Pietre Dure laboratories (Florence, Italy). A graphical user interface was also designed to aid operators in the field of conservation dealing with the results of the two IR methods. Many options such as image adjustment, comparison, overlaying and transparency variation, in addition to thermographic elaborations, have been made available to users. Imaging data integration provides a multi-layered and multi-spectral representation of the painting that yields a comprehensive diagnosis confirms the anomalies individuation and reduces the ambiguities of information coming from a single diagnostic method.     

Micro-Raman spectroscopy for standard and in situ characterisation of painting materials

Micro-Raman is a spectroscopic technique that allows the identification of painting materials even if finely grained and mixed with others, dispersed in a binder or layered on surfaces. It is used for non-destructive, in situ measurements and it is suitable for selective studies on inhomogeneous materials or surface investigations. Some examples are described of the use of this technique in the field of art conservation and diagnostics, with regard to pigments, dyes and some products of metal alteration. Raman spectra obtained on standard painting materials were arranged in a database and published on the Web.     

A Note on Financial Risk, Return and Asset Pricing in Australian Modern and Contemporary Art

In this note, 30,227 paintings by fifty well-known modern and contemporary Australian artists sold at auction over the period 1973–2003 are used to construct a hedonic price index. The attributes included in the hedonic regression model include the name, age and living status of the artist, the number of works sold, the size and medium of the painting, and the auction house, month and year in which the painting was sold. The results indicate that returns on Australian modern and contemporary art averaged nearly five percent over the period with a standard deviation of sixteen percent. The results also show that a ten percent increase in the Australian stock market is associated with a 3.4 percent increase in the art market. Generally, artworks by artists deceased at the time of auction, larger works, works executed in oils, and those auctioned by Sotheby's or Christies in July or August are associated with higher prices.     

Financial returns,price determinants,and genre effects in American art investment

Past studies on art investment generally have found that returns are low and risk is high. In this study we find that the return to art investment is more in line with traditional investments and thus the cost for consumption associated with art seems fairly small. Employing a large sample of paintings by 66 American artists sold at auction between 1971–1992, average returns are found to be over 9 per cent and 3 per cent in nominal and real terms, respectively. The model employs a log linear price regression estimated by pooled cross section and time series data, and allows rates of return as well as hedonic values for various painting and auction attributes to be estimated. These include size, media, age of execution, authenticity of the work, and auction month and house. In addition, rates of return are differentiated by artist, time period of investment, price range and genre of the painting. The findings indicate significant sensitivity of rates of return to these data stratifications.This paper was presented at the 9th international conference of the Association for Cultural Economics, held in Boston, May 8–11, 1996.