Fang Zengxian, Lu Xun, 1975, colored ink on paper, 147.5×85.5 cm
Fang Zengxian (1931–2019), a native of Lanxi, Zhejiang, graduated from the Zhejiang Academy of Fine Arts in 1953 and stayed on for postgraduate studies. Since 1955, he taught figure painting in the Chinese Painting Department of the same institution and later served as the director of the Shanghai Art Museum.
This portrait of Mr. Lu Xun is richly executed in both ink and color. The face of Mr. Lu Xun is prominently depicted, with solid muscular structure and block-like forms accurately portrayed. This precise depiction captures Mr. Lu Xun’s unyielding, upright, and righteous character, which complements the inscription above the portrait.
Wo Zha, Mobilization for the War of Resistance, 1937, Woodcut on Paper, 20×27.5 cm
Wo Zha (1905–1973), born Cheng Qingfu, also known as Cheng Zhenxing, and with pen names Wo Zha and Mu Dan, was a native of Qu County, Zhejiang. In 1935, Wo Zha graduated from the Shanghai Art College, former Director of the Creative Studio at the People’s Fine Arts Publishing House.
After the outbreak of the Anti-Japanese War in 1937, Wo Zha went to Yan’an and served as the head of the Art Department at the Lu Xun Academy of Fine Arts in Yan’an. His work Mobilization for the War of Resistance vividly presents the historical scene of the Chinese people uniting for a national resistance. It played a significant role in promoting the war effort and awakening public consciousness.
Shen Yaoyi, Revolutionary Ideal is Higher than the Sky, 1976, oil on canvas, 185×375 cm
Shen Yaoyi, born in 1943 in Shanghai, is a native of Zhenhai, Zhejiang. He graduated from the Printmaking Department of the Central Academy of Fine Arts in 1966, where he studied in Li Hua’s studio, and is now a professor at Renmin University of China.
The Revolutionary Ideal is Higher than Heaven depicts a scene from the Long March Suite titled Crossing the Snow Mountains and Grasslands. Using a realistic approach and romantic contrasts of light and shadow, the painting portrays young Red Army soldiers in a harsh environment, resting around a roaring campfire and listening intently to Chairman Mao’s passionate speech. Their eyes are filled with endless anticipation and hope for the future.
Shen Yaoyi, New Landscape on the Long March——Loushanguan, 1975, Gouache on Paper, 52×36 cm
Shen Yaoyi, born in 1943 in Shanghai, is a native of Zhenhai, Zhejiang. He graduated from the Printmaking Department of the Central Academy of Fine Arts in 1966, where he studied in Li Hua’s studio, and is now a professor at Renmin University of China.
In 1975, Shen Yaoyi retraced the route of the Long March, spending three months traveling from Jiangxi to northern Shaanxi. He used long-distance buses where possible and walked or rode horses in areas without road access. The challenging terrains along the Long March route had undergone significant changes with the construction of New China. New Landscape on the Long March captures the beautiful landscapes of the new era that he witnessed during this journey.
Gu Yuan, Date Garden in Yan’an, 1957, Watercolor on Paper, 25×32.5 cm
Gu Yuan (1919–1996), a native of Zhuhai, Guangdong, began studying woodcut art in 1939 at the Lu Xun Academy of Fine Arts in Yan’an. He later served as the president of the Central Academy of Fine Arts.
Gu Yuan created many works that depict the lives and labor of the working people. This watercolor piece showcases the landscape of Zaoyuan in Yan’an, a place rich with historical memories. It blends natural and cultural elements to present a serene and poetic scene. The use of soft and elegant colors imparts a sense of comfort and delight.
Liu Kaiqu, Relief Sculpture for the Monument to the People’s Heroes, 1958, Bronze Sculpture, 30x25cmx8 pieces
Liu Kaiqu (1904–1993), a sculptor from Xiao County, Jiangsu, studied in the Sculpture Department of the École Nationale Supérieure des Beaux-Arts in Paris. He also served as the director of the National Art Museum of China.
The Monument to the People’s Heroes is a comprehensive art project that integrates architecture, sculpture, and calligraphy. In 1952, Liu Kaiqu was appointed as the director of the design office and the head of the sculpture team for the monument. He was responsible for the overall design of the monument and personally created three reliefs: Crossing the Yangtze River in Victory, Support the Frontline, and Welcome the Liberation Army. This set of bronze relief sculptures represents the original prototypes for these three reliefs created by Liu Kaiqu for the Monument to the People’s Heroes.
Wang Shikuo, Blood Clothes, 1950s, sketches on paper, 74×54 cm/75×51 cm/63×89 cm
Wang Shikuo (1911–1973), a native of Yexian (now Laizhou), Shandong, was a realist painter and a prominent art educator in China. He served as a professor in the Oil Painting Department at the Central Academy of Fine Arts.
Blood Clothes depicts scenes from the early days of the People’s Republic of China and is regarded as a classic in the history of Chinese realist art. The creation of this series began in 1950 and spanned 23 years, comprising over a hundred character sketches and oil portraits. Through on-site sketching and detailed depictions, Wang Shikuo revealed the inner worlds of his subjects and keenly captured the zeitgeist of the era.
Lu Yanshao, The New Look of the Motherland, 1957, ink and watercolor on paper, 68.5×139.5cm
Lu Yanshao (1909–1993), also known as Di, courtesy name Wanruo, was a renowned Chinese landscape painter from Jiading, Shanghai. He served as the director of the Zhejiang Painting Academy.
The New Look of the Motherland depicts a scene from the countryside, arranged horizontally and divided into six groups of figures. The composition is rhythmically structured, with the figures arranged in an orderly yet varied manner, featuring men and women, the elderly and children, each engaged in different activities. The use of bright colors such as red, blue, green, and white contrasts to emphasize a lively and flourishing scene of production and labor, reflecting the joy and excitement of striving for a new life.
Su Tianci, Thousands of Willow Branches in the Spring Breeze, 1960, oil on canvas, 110×110cm
Su Tianci (1922–2006), a native of Yangjiang, Guangdong, studied at the National Academy of Art in Chongqing in 1943 under Lin Fengmian. He later served as an assistant in Lin Fengmian’s studio at the National Hangzhou Academy of Art.
This piece depicts female educated youth at work in a spring breeze among willows. In shaping the figures, Su Tianci emphasizes the contour lines and uses relatively uniform color blocks to create volume. The laboring youth in the painting exhibit a certain softness, and the spring breeze and willows add a refreshing touch to the scene.
Tang Daxi, Mountains Laughing, 1973, bronze sculpture, 130x113x70 cm
Tang Daxi, born in 1936 in Shantou, Guangdong, is a National First-Class Artist. He began his artistic career in 1956 and served as the director of the Guangzhou Sculpture Institute.
Mountains Laughing was an outstanding entry in the 1974 National Art Exhibition. This group sculpture depicts the radiant and beautiful scene of young women in New China blossoming through their labor. It showcases the image of the new woman: youthful, healthy, and optimistic. The piece celebrates the beauty created by labor and serves as a monument blending magnificent scenery with idealistic passion.
Guang Tingbo, County Party Secretary, 1975, oil on canvas, 130×110 cm
Guang Tingbo, born in 1938 in Dalian, Liaoning, graduated from the Oil Painting Department of Lu Xun Academy of Fine Arts in 1964. He is a National First-Class Artist and formerly served as the Director of the Creative Department at the Liaoning Academy of Painting.
In 1975, due to his solid realist skills, Guang Tingbo was selected to join the Liaoning Provincial Art Creation Group. He created this oil painting featuring a county party secretary working on the front lines of labor. With exquisite painting techniques and passionate emotion, he vividly depicted a vibrant scene of social production, highlighting an atmosphere of positivity and progress.
Zong Qixiang, Shichahai Swimming Pool, 1954, ink and color on paper, 30×41 cm
Zong Qixiang (1917–1999), a native of Nanjing, Jiangsu, graduated from the Department of Art at Central University in 1944. In 1947, he followed Xu Beihong to teach at the National Beiping Art School and later served as a professor at the Central Academy of Fine Arts.
Zong Qixiang focused on deeply engaging with life in his artistic creations and maintained a long-standing commitment to sketching from life. This work depicts the swimmers at Shichahai, with a clear blue sky, bustling crowds, and lively swimming scenes. The dynamic and healthy postures of the swimmers reflect the vigorous, flourishing new China and the rich and diverse lives of its people.
Chen Yuandu, New Year’s Feast in the Home for the Aged, 1959, color on silk, 110×64 cm
Chen Yuandu (1902–1967), a native of Meixian, Guangdong, was a renowned modern painter, illustrator, and art educator. He served as a professor at the Central Academy of Arts and Design.
This painting, with its delicate brushwork and warm tones, vividly depicts the happy lives of the elderly in a nursing home. The elderly are shown being attentively cared for and celebrating the New Year with raised glasses. The presence of children adds to the joyful atmosphere. The entire painting exudes the traditional virtues of respecting the elderly and loving the young, along with the new spirit of socialism.
Wu Guanzhong, Peony, 1960, oil on board, 50.5×40 cm
Wu Guanzhong (1919–2010), a native of Yixing, Jiangsu, graduated from the National Academy of Art in Hangzhou in 1942. In 1947, he studied at the École Nationale Supérieure des Beaux-Arts in Paris and returned to China in 1950 and taught at the Central Academy of Arts and Design etc.
Wu Guanzhong loved flowers and painted many throughout his life. He even wrote an article titled Flowers to discuss the relationship between flowers and art. Peony features the quintessentially Chinese subjects of peonies and a porcelain vase. In Chinese culture, peonies symbolize wealth and prosperity. Wu Guanzhong used oil painting as a medium, with fluent brushwork and a keen sense of color, to imbue this traditional subject with new vitality.
