朱德群

朱德群(1920年5月22日—2014年3月26日),生于安徽萧县白土镇(时属江苏)一个具有文化修养的医生世家,1935年进入国立杭州艺术专科学校学习西画,1941年毕业于国立杭州艺专,即今天的中国美术学院。1945年任教南京中央大学建筑系。1949年任教台北师大艺术系。1951至1955年任教于台湾师范学院。1955年定居巴黎,从事绘画创作。1980年入籍法国。1997年当选法兰西学院艺术院终身院士。朱德群先生是当今著名海外华人艺术家之一。

  • 中文名朱德群
  • 别名朱德萃
  • 性别
  • 国籍中国
  • 民族汉族
  • 祖籍安徽萧县白土镇
  • 出生地安徽萧县白土镇
  • 出生日期1920年
  • 逝世日期2014年3月26日
  • 职业画家
  • 毕业院校南京中央大学建筑系
  • 代表作品《朱德群专集》
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抽象画家朱德群为啥和堂哥用一个名字?

jinhong 10-12 浏览

【提要】:整整六十年前,1955年5月,画家朱德群前往法国,在巴黎,他发现那里早已是抽象绘画的天下。是德·斯塔尔的抽象画和老子的哲学让他重新确立了绘画的目标,朱德群发现,中国水墨...
人物简介

朱德群,原名朱德萃。1920年10月24日生于安徽萧县白土镇(萧县原属江苏,1955年划归安徽省)萧县虽然地处淮北一隅,但素有修文习艺的传统。白土镇四面环山,朱德群幼时常在山林间游憩。
他的祖父朱汉山、父亲朱禹成世代行医,也都喜爱书画,父亲暇时常作画自娱,他也随父画画,临习草书。家里收藏的书画作品,成为他的艺术启蒙教材。小学毕业后,到徐州上中学。1935年投考杭州国立艺专,因当时中学尚未结业,他借用堂兄朱德群的毕业证书报名,从此成为朱家第二个“朱德群”。
从朱德群先生青年时代的求学经历和他的海外奋斗历程,人们都能感受到这位艺术大师那始终坚定地保持着的创作主旨。因此,人们得见了一连串曾经在朱德群先生艺术跋涉中隐现过的身影:吴大羽、多里瓦尔、米修、皮埃尔、毕加索;他们是朱德群人生交往的一个个相当有意味的组成部分,甚至是朱德群先生绘画生涯的现实的艺术环境。于是,环绕着传主朱德群先生,二十世纪欧洲画坛以一个个具象得以喻示出来。

人物经历

1920年10月24日生于江苏省徐州萧县白土镇一个深具文化修养的医生世家,
1935年考入国立杭州艺术专科学校。
1949年由南京到台湾台北。
1954在台北市中山堂首次举办个展;
1955年离台赴法深造;
1957年参加巴黎春季沙龙以“景昭画像”获银牌奖 。
1958年在巴黎首次举办个展;
1963年法国艺评家乔治·布大宜(George Boudaille)发表“朱德群的绘画专题研究”;
1964年获邀参加美国匹兹堡卡内基博物馆之“现代国际画展” 。
1969年参加巴西圣保罗第十届双年展,专室陈列;
1979年袖珍博物馆出版社发行<朱德群专论>一书,于伯阮执笔(于氏为法国十九世纪文学学评论权威、诗人、作家、艺评家) 。
1982年在法国哈佛市之安德列·马雷侯现代美术馆展出自1955年至1982年的作品;参加在香港艺术馆展出的“海外华裔名家绘画展”;参加在法国登肯市现代美术馆开幕展 。
1983年接受香港中文大学邀请,为艺术学士学位评审;
1984年参加卢森堡埃西市立剧院油画展;
1987年国立历史博物馆主办朱德群回顾展;同年在以色列首都市政厅展出“现代法国画派展” 。
1988年在比利时烈日现代美术馆举办个展;
1989年与艺评家舒瑞盖哈共同筹划,促成“巴黎当代绘画邀请展”于台中的台湾省立美术馆展出,全部展出作品赠送该馆,实现朱德群一心充实美术馆软体的愿望 。
1991年巴黎现代艺术博览会FIAC专室展出油画作品;
1992年在西班牙巴塞隆纳作石版画一幅;
1993年《朱德群专集》法文及英文版问世,由艺评家皮耶·卡班(Pierre Cabanne)执笔 。
1997年法国外交部艺术活动司AFAA举办朱德群近作展(自1985年-1996年作品),并在北京、香港、台湾巡回展出;12月当选法兰西学院艺术院士 。
1998年在台北市立美术馆举办个展;
1999年2月3日参加法兰西学院艺术院士就职典礼;
2000年在法国守修文化中心、上海博物馆、广东美术馆举办油画个展;在巴黎IDL石版画工作室创作六幅石版画,并由霍克艺术Hoke Art全球发行 。
北京时间2014年3月27日凌晨在法国巴黎逝世,享年94岁

绘画风格

1935年进入杭州艺专,当时之校长林风眠(1900-1991)为艺专网罗了极多曾留学过法国的人才,而林风眠个人对法国现代画的喜好,更影响了艺专的绘画风格。
中国书画的表达经验很早就为朱德群的抽象创作奠定了基础,使他在从具象过渡到抽象的短短数年间,很圆熟地超脱具象的束缚,在画面构造出一个抽象的广阔空间,也使朱德群的抽象自然画深含中国文化的恢宏气度。1960年代起,朱德群逐渐脱离了德?斯塔埃尔(1914-1955)的影响,不再用画刀分割颜料块面,专注于扎实的线条与色彩本身,以流畅的运笔结合力道与速度使动感跃然于眼前;2000年后,艺术家再次解放视觉元素,光线的描写与空间的形塑成为其画面重心,此次夜拍的作品《永存的刹那》(Lot 1022)即呈现了朱德群跨越四十年艺术生涯不同的创作特色与风格。
在朱德群的自述中,曾提及中国古代山水画对他的影响,在众多大师中,他尤以范宽作品中所展现的磅礡气势和生动的气韵最为欣赏,朱德群曾说:如范宽说过与其师于人者,未若师之物;与其师之物,未若师于心,所谓师于心者,即是以画家为主宰,并已有抽象的概念。可是中国人没有把抽象这两个字讲出来而已。大自然经过画家的思想融合和提炼,其中即是画家的幻想力、修养和个性之内涵流露于画面上,中国绘画和抽象画的想法不谋而合。《构图 No. 168(河渠山景)》几乎纯以焦赭为主,在素以色彩着称的朱德群作品中十分罕见,但也正因如此,我们更容易透过单纯的色调感受到隐含于画面的中国山水。
而朱德群的绘画艺术中同时具有东方艺术的温婉细腻与西方绘画的浓烈粗犷,正是他融合自身中国文化背景与历史传承以及善用西方的绘画工具与技巧的具体表现。朱德群一向酷爱中国的诗词,而他也不断的以画来表达诗意,而他的作品则同时具有豪气千云与淡淡幽情的特质。1955年朱德群离开台湾远赴巴黎,开启了他的艺术创作之旅。于60年代的作品中他多以单一色作背景,运用阔笔与快笔所挥洒出的宽窄厚薄的线条则游走于画面上,时有似瀑布奔泻的水流,颇有大江东去,一泻千里的气势;而细节部份则以细笔勾勒出的蜿蜒线条,含蓄婉约就如小乔初嫁时的神情。
传统水墨画的主体色调基本以墨色为主,王维之语:夫画道之中,水墨最为上。肇自然之性,成造化之功,便清楚的点明了水墨在中国审美系统中的重要性,历代画家已将墨色的组合与构成视为基本的符号元素,在最低限的色彩使用中,营造出最深刻的意境传达。油彩在朱德群笔下一改其浓厚黏滞的特性,似乎兼具了水彩的轻盈流动与焦墨枯笔的深沉,画家在此仅以单色油彩的渲染变化,创造出“黑、白、浓、淡、干、湿”六彩,并在看似豪迈的挥洒间,精准地运用简约的墨色,使其在视觉结构上组成丰富而细微的层次,前景、中景与远景的架构清晰,形成了画面的远近与纵深,因而创造出广阔无垠的空间感,而在区区尺幅间呈现范仲淹〈岳阳楼记〉中的:衔远山,吞长江,浩浩汤汤,横无际涯。
在朱德群近期的作品中,中国书法的线条变得更为抽象,色块组合堆栈也更加繁复,艺术家说:老年者拥有最富足的精神资源,有长长的人生阅历记忆。我从80年代开始,就画我的记忆,幻游我的记忆。……我要重新处理记忆,将记忆幻化,像我家乡酿酒的人,把记忆当作高梁,然后酿成能烧心烧肺的烈酒。《永存的刹那》中几乎横贯了画面的明亮色带宛如记忆的长河,朱德群将点点滴滴的生活经历汇聚为交织的视觉元素,激越的笔触如惊涛裂岸,柔美的渐层又似平缓的沙洲。朱德群的画作并不是表现纯粹的抽象结构,而是对应于大自然的心灵感动,数十年间的沧海桑田、或悲或喜,都透过油彩的挥洒流泄于画面,他所追求的物我两忘,天人合一,也在此借由艺术创作而实现。
虽然在西方的色彩理论中,物体本身并没有色彩,我们肉眼所见之颜色来自于光线照射时物体反射出的部份色光,可说由光线创造了色彩,然而在《永存的刹那》中,朱德群却是以富透明感的明暗与色彩层次衍生出光线,光是有方向性的,直率的笔触如同无数的直射、折射与反光,光线在介入空间的同时也产生了引导作用,我们如同身处黑暗的山洞,透过千变万化的光线转折,得以界定、探求、摸索其中蕴藏的无限空间。朱德群大刀阔斧的划分出强烈明暗对比的画面,微妙的环境氛围则来自细节渲染的阴影变化,如白居易〈庐山草堂记〉所言:阴晴显晦,昏旦含吐,千变万状,不可殚纪,幽暗的色彩主要环绕了上、下半部,带来压抑、收缩的空间效果,明亮色彩则蔓延至边缘,创造出开放的空间感,具透明感的暗色系隐约透出光亮,而明暗交界处的渲染变化更显出艺术家掌握媒材之巧妙,彷佛可虚可实、可隔可透的园林空间,各种构景要素在迂回曲折中形成空间的分隔和组合,不流于支离破碎,又务求变化有序、层次清晰,艺术家在此对大自然的概括与抽象化,可说与本于自然、离于自然的园林美学十分接近。
而在朱德群恣意挥洒的笔触与线条引领下,我们的思绪也随着游移于似云山烟树的意境里。 70年代朱德群的创作受林布兰用色与明暗处理的影响颇为深刻:林布兰喜将强光式的白或黄色集中于以粗笔浓厚的黑色或深褐色的背景中,而形成对比强烈并具戏剧性起伏的画面并营造出沉郁悲哀的气氛。朱德群曾表示:林布兰画中的光使他的画更显深刻、雄浑和结实;而除了林布兰的特殊风格:强烈光束、厚重的颜色以及大笔触的阔线条之外,朱德群更运用个人一向快捷、类似中国“飞白”意味的笔法以及白色块或其它浅色块的搭配,使得朱德群七○年代的绘画风格得以摆脱林布兰的沉郁,反而有着行云流水般的优雅流畅。
于80年代中,他所运用的线条、点与粗笔都与中国的书法绘画极为吻合,中国书法的俯仰、顿挫与纵横均可见于这个时期的作品当中。进入90年代后,朱德群的作品更加接近中国的绘画传统,而其双联与三联作的构图也是受中国传统手卷轴的影响。而其作品之标题如“大地苏生”、“雪融瑞气”或“冥想”均有中国艺术传统中注重宇宙的变化并探讨人与自然的关联。
吴冠中曾以“大弦嘈嘈似急雨,小弦切切似私语”形容朱德群作品中,因线条的律动而形成的节奏感;点线的交错与窜动并结合画面上的光线明暗而形成如音符般时急时缓、高低起伏的旋律。整体而言朱德群的作品与自然现象,尤其是与光,有紧密的关联,而这些都是经由艺术家心灵省思后的印象。法国艺评家皮耶卡班那曾写道:"真实的绘画来自回忆。"
朱德群即是以深邃的方式,描述令他最眩目的前尘往事。足见朱德群对这个世界的眷恋,这世上的芳香,这些挥之不去的袭人气习,那些世俗的纷扰,都是他所欲捕捉的对象。 朱德群以画笔描绘出自然界里的透明的空气、清凉的水气、游移的风、急速的湍流与初降的瑞雪。在画面上常出现淡玫瑰色的晨曦或是一片火红的落日,而光线神秘的游移、跃动于其中,这就是朱德群作品充满蓬勃的生命力的来源。他以一种既夸张又抒情手法表现出强烈又隽永的印象,同时兼具梦幻意味与戏剧性效果。

突出贡献

朱德群在1941年的抗日烽火中以优异的成绩毕业,留在母校当助教。1944年任南京中央大学工学院建筑系讲师。1951年在台湾师范大学艺术系任教授。
这些人生历炼和阅历,使他的“中国艺术文化链”不断高级和精致。可是,他觉得在杭州美专获得的“西方艺术文化链”却没有充分发育。于是他毅然放弃在台湾已经有的艺术声名和学术地位,在1955年坐船经开罗、西班牙等“艺术之路”来到世界艺都巴黎。从此,他的“西方艺术文化链”迅猛茁壮,也像“中国链”一样高等而精致。就是这样的“双螺旋”,进行无穷的组合、突变,使他在法国进而在世界声名鹊起。他在世界各地开了五十多次个展,佳评如潮。他的作品被巴黎艺术博物馆、台北历史博物馆、美国圣路易大学、比利时现代美术馆、法国国家现代艺术基金会等二十多家国际著名博物馆收藏。他多次荣获艺术大奖。他的名字列入《国际传记辞典》、《欧洲名人录》,直到在名字前终身冠以“法兰西学院艺术院士”的称号。无论是他的具象画还是抽象画,东西方评论家都众口一辞:朱德群是用油画画出了中国水墨画精神的大师,他用浓郁泼辣的色块轰入画的深层,追求深远的宇宙空间感和无限激情的笔墨之韵,超以象外得圜中。
朱德群的绘画,当是用丹青挥洒出的“生态人文主义”的夺人先声。由法兰西院士、著名雕塑家亚贝尔·费洛专门为朱德群设计的“法兰西院士宝剑”非常特别,剑柄上镶了四块中国传统文人借以抒发高洁情怀的玉石——一块汉白玉,两块扁平中空的绿松石,还有一块刻着战国时代兽面纹的琥珀。雕塑家说,用西方现代的不锈钢材质配东方古代的缤纷玉石所做成的剑柄,正是朱德群绘画风格的象征,是新的人文精神内涵的象征。
朱德群是一位画家,可是他带给人们的启迪已远不止是绘画方面。对于中学与西学的关系,人们曾争论了一个世纪。对此,朱德群感叹说:“全盘西化说”再好,不过只是一条文化链;雄心万丈“要让中国文化领导二十一世纪世界潮流之说”,也只有一条文化链;为何这么傻,不学学生命智慧,将两条链组合成能无限突变的双螺旋呢。
2002年夏,朱德群在吴冠中的陪同下,亲身感受了中国上海充满朝气的全新景象与国际化大都市的气质。中国的发展和进步,上海的繁荣和兴旺,给朱德群带来了无比的自豪与喜悦。他在对上海大剧院进行了实地考察后,欣然接受了来自申城的邀约——为庆贺上海大剧院的“五岁生日”创作一幅油画巨作。他说:“我早就有为祖国留一幅画的想法,它可以表达我的心意,我把它送给大剧院,更送给我的祖国。”
这幅巨制凝结了老人一生的心血与才情。朱德群为其创作了9幅小稿,命名为“上海大剧院油画准备系列”“之一”到“之九”,其色彩由浓烈渐趋细腻、和谐,线条也由简单渐趋流畅、成熟。为了创作这张巨幅油画,朱德群定购了专用的颜料,能保持100年不退色。画布也是从俄罗斯定制的,重达300多公斤,没有一个接缝。他还定制了作画用的电动升降机,每天在升降台上“空中作业”四五个小时。为了绘制这幅4米多高的巨画,年过八旬的朱德群每天拖着年迈的身体,在升降机上爬上爬下,常常上去画一笔又下来看看,找找感觉。这样上来下去,非常辛苦。在8个月的时间里,朱德群一步步完成了心中的一个宿愿——给祖国画一幅最大最美的画。
这幅暂名为《复兴的气韵》的画作,蕴含着“华夏复兴”的主题。朱德群喜欢古典音乐,在创作这幅作品的时候他一直在听贝多芬的《田园交响曲》,那种自然、抒情的旋律给他带来灵感。他要让画作有音乐的节奏和韵律,成为一种无声的音乐。画家觉得中国的过去一直是个农业国家,现在正慢慢地转型,而他自己从小在乡间长大,对民间的山水,有很多回忆。《田园交响曲》给人一种牧歌式的春天里繁华色彩的感觉,这种感觉与他对华夏复兴的理解和渴望正相吻合。朱德群相信,自然之美就像音乐一样,无需语言沟通,只要用心感受,就能描绘出心中的风景。在这幅音乐性的绘画中,朱德群使用了丰富的色彩和新异的形式表现了这个主题。

人物评价

一位现代的艺术家,必须经得起不同文化背景的价值判断。朱德群旅居巴黎二十馀载,以一个中国人的身份受到当地艺坛的客观评介,以下是四位艺评家:Gerald Gassiot-Talabot﹐Paoul-Jean Moulin,Hubert Juin,York Liersch 对他所做评介的综合引述。
在现代艺术表现最自由的今日,朱德群忠实于他自己,忠实于他的种族,忠实于他所属的最古老传统的国家。他抱着克服和研究的志愿,在那里变化多端的创作,朱德群个人的境界完全决定在一个很难衡量的天秤上:一方面是那包重大压人的精神和艺术遗产,另一方面是诱惑人的国际绘画派别,这对某些人来讲,会拒绝属于因环境或区域性而分的类别,然而,所幸的是,这位画家由于他的智识避开了这些最威胁人的陷阱,并超越了中国与西方暧昧不明的地带。
他的绘画是一种自然的流露,颤动的﹑热烈的﹐他不在乎那些定理﹑法则﹑视觉上的界限﹐或是各种标志,他的绘画是一个抒情的奉献。
由于他意识到他的学养在他绘事工作里的“源始性”,所以把它引导到国际性的某种研究并予以发展。这种研究是联系于抒情的抽象概念(abstraction LYRIQUE),由于其意义涉及到人与宇宙间的关系,我们可用简缩的术语称之为抽象风景画派(Paysagisme abstract )。实际上,以未来讲,风景画并不是将某地区的景物扼要地描述出来,而是将这个地区的景物当作一个自然的有机体,在其中人仅是个组合者,从绘画中试着去翻译出他的脉搏﹑他的血压和一些随时发生的变化。朱德群果敢的善用西方绘画中丰富的色彩,他对物质本身有很敏锐的感觉,按照中国传统绘画,书法与绘画都是很富诗意的巧妙地运用在一起,他具有这些绘画经验,以致完全主宰其绘画技巧。
画和书写同为一种手势,朱德群蓄意与现实作对答的绘画,使提出的问题在我们的眼睛中可以看出来,这多少与其所承受的文化遗产直接有关系。这个时候﹐我们就会发生一个已经内在化的风景,突然喷射出想像的原质,向我们冲过来,把我们带入并消失在那些梦中,在闪烁的深渊中﹑田野的旷风里﹐记忆力隐退了﹑溶化了,就像颜色溶浸进入画布纹理中一样。勒米克(巴黎艺评家)介绍朱德群的画的序言中记述道:……也许是幻想力在画中施魔法,不用置疑,也不加控制地刺激着观画者的想像力,并且加以扩大。……在朱德群的画里,我们所经历的奇遇中,证明了这种富吸引力的现象,正是一个神秘内涵的表现。
巴黎文学与艺术批评家Hubert Juin曾说过:油画,某种强力的东西迫使你去深入。是个演讲吗﹖勿宁说它是一片纷繁的宁静。总言之,当一个符号出现时,它的本身就代表了全部。当然这极其令人幻惑﹗他认为朱德群的画不苛求于“阅读”,但是需要“沉思﹑冥想”。画出来的作品,在这儿不能称之为释文,换句话说是一种技巧上的细节,或某些观点上的看法的衔接来解释一个线条的涵意﹑一个描写或是一段逸事。问题是存在相反的置疑﹕我们的视线要在一揭幕的当儿,就要飞奔似的“孤注一掷”和这样坚涩的提供相撞击而紧缩住。这就是他的「面目」,这时只有宁静的符号作答﹐这就是“沟通”之道﹗
朱德群的画不是一件东西而是一个实体。它在空间佔据了他的领域,这就是实存,这就说明朱德群的画的自我肯定﹕如同一个实体将在某个领域出现一样,所显着的即在目前的实存,从这个时候开始﹐观众就会掉入在他们自己眼光中一个认为是物体的陷阱里,正因为朱德群的画有如此迂回的阐述其自我的能力。因为这个显着的实存并且急迫的划定了领域,使朱德群的作品不停不断的促成,这就是他的本来面目,因此我们在冥想中的画也就找出来了沟通的答案。
在朱德群的画里没有关闭或封锁的意向,我们不能说他是从某处开始,更不能说是在某时某处停止,或结束。他不是从某一点开始到另外的某一点,他是一个真正的大道(途径),人们都有这样的经验,大道是没有界限的。朱德群的画不是“影像”,但是他能使人唤起,尤其能激发起人们的“影像”,就如同一个喷射不停的泉源,在一贯的常态中,却是变换无穷尽。观众并不是不了解为什么有某些人的作品会在眼前瞬间逝去,这便是因为他已经一眼把画看完了,把它的涵意全部看完了,因为这些内涵太关闭在自己的意愿中,于沟通的开口处太怯懦﹐只要有人来细看,它就会惨白的,只能反复的声音愈来愈小的在那里重复,直到缄默,变成一个空的虚饰,这正是具有坚强意志的诗人朱德群真正避免的,他的绘画不是关闭的。
自一九五五年他开始在巴黎从事绘画,巴黎画派并没有给他多少影响,在他云雾的风景画里是以古代中国思想,中国古代的学术来表现今日核子时代的宇宙,那里既无人又无物,仅是两种基本元素永无止尽的在变化中角斗,阳──(天)光线,热烈的﹑燃烧的﹐阴──(地)阴影,湿润的,再加以黑格尔辩証法的形式,一“正”一“反”,那么在这殊途同照,异体同生的朱德群的风景画中以人类的智慧还能捕捉到的天与地之间的“人”,他永远不会沉迷在印度的极乐世界。
朱德群用令人心服的线条从不精确中画出性格来,使幻想变成完美无缺,很惊奇的是在他的画面上没有西方线条的透视,而从远处看主题,出现好几个定点,相叠相重替换着,配置在不同的阶度的平面上。实际上,在西方,唯一使朱德群所感动的是林布兰特的光线与阴影的对比处理,此仍纯属来自大自然中直接的观察,用中国墨水画下简稿,已经表现出空间与光线。
有人说观朱德群的画有如淋了一身的光彩。他抒情而充满诗意的抽象绘画,被法国现代绘画史家称许为“把东方艺术的细腻与西方绘画的浓烈融汇得最成功的画家。”

English Introduction

Zhu Dequn, formerly named Zhu De. Born in October 24, 1920 in Anhui Xiaoxian town of clay (formerly Jiangsu Xiaoxian, 1955 transferred to Anhui province) although Xiaoxian is located in the corner of Huaibei, but known as Xiuwen learn the art of traditional. The town of clay is surrounded by mountains, Zhu Dequn was often in the forest recreation.
His grandfather Zhu Hanshan, father Zhu Yucheng generation practice, is fond of painting and calligraphy, the father often time to paint myself and others, he is also the father of painting, Lin Xi cursive. Home collection of calligraphy and painting works, become his art enlightenment textbook. After primary school, to Xuzhou high school. In 1935 for the National Art Academy of Hangzhou middle school, because at that time has not yet graduated, he borrowed my cousin Zhu Dequn graduation certificate of registration, and has since become the second "Zhu Dequn zhu".
From Mr. Zhu Dequn's youth study experience and his overseas struggle, people can feel the artistic master that always firmly maintained the creative purpose. Therefore, people see a once in Mr. Zhu Dequn's artistic journey over the looming figure: Wu Dayu, Doriva, Pierre, Picasso, Michel Zhu Dequn; they are a quite life communication means the part, even Mr Zhu Dequn's painting career reality artistic environment. Then, around the hero Mr. Zhu Dequn, the twentieth Century European painting to a figurative metaphor to come out.

Born in October 24, 1920 in Xiaoxian of Jiangsu Province, Xuzhou town of clay with a deep culture family doctor,
1935 admitted to the national Hangzhou art college.
1949 from Nanjing to Taiwan, Taipei.
1954 Zhongshan hall held the first solo exhibition in Taipei;
1955 from Taiwan to study in france;
1957 to participate in Paris spring salon to Jing Zhao portrait won the silver medal.
First exhibition held in Paris in 1958;
1963 French art critic George Budagi (George Boudaille) published a thematic study of the painting of Zhu Dequn";
1964 invited to the Pittsburgh Carnegie Museum of modern international exhibition".
Brazil in 1969 to participate in the tenth session of the St Paul Biennale, special show room;
In 1979 the museum published a book on Zhu Dequn < >, Yu Boruan, (in French literature's nineteenth Century science review authority, poet, writer and art critic).
From 1982 1955 to 1982 in the works of Andre Mare, the French Harvard Hou Museum of Contemporary Art exhibition; to participate in the exhibition at the art gallery of Hongkong overseas Chinese famous painting exhibition "in France; Deng Ken Museum of Contemporary Art opening exhibition.
1983 invited by Chinese University Hong Kong, Bachelor of Arts degree review;
In 1984 Luxemburg oil painting exhibition esie municipal theatre;
The National Museum of history in 1987 sponsored by the Zhu Dequn retrospective exhibition of French modern painting exhibition "; in the same year, the Israeli capital city hall".
1988 held in the Belgian hot sun Museum of Contemporary Art exhibition;
1989 art critic Shu Rui qaha jointly planning to promote the "Paris contemporary art exhibition" in Taichung Taiwan Provincial Museum of fine arts, all exhibited works presented in the museum, Zhu Dequn art museum will enrich all software.
1991 Paris modern art fair FIAC special exhibition oil paintings;
Barcelona in Spain in 1992 as a lithograph;
The advent of the 1993 "Zhu Dequn" album and English French version, by art critic Pierre Cabanne (Pierre Cabanne) ".
In 1997 the French Ministry of Foreign Affairs Secretary AFAA Zhu Dequn's art activities held exhibition (from 1985 - 1996 works), and exhibited in Beijing, Hongkong, Taiwan tour; College France art academy was elected in December.
The 1998 exhibition held at Taipei art museum;
February 3, 1999 to participate in the inauguration ceremony of College France art;
In 2000 the French cultural center, Shanghai Shou repair Museum, Guangdong Art Museum held a painting exhibition; in Paris IDL lithograph Studio Six lithographs, and art by Hawke Hoke Art global issue.
Beijing time on March 27, 2014 morning in Paris, France died at age 94

In 1935 to enter the Hangzhou college, then president Lin Fengmian (1900-1991) for art many had studied French snare talent, and Lin Fengmian's painting on French modern preferences, but also affect the art style of painting.
The expression of China experience early abstract painting works of Zhu Dequn laid the foundation, make him in just a few years of transition from the concrete to the abstract, very round detached concrete bound, a vast space in the picture abstract structure, also make the abstract nature of Zhu Dequn's paintings magnanimity with deep cultural China. Since 1960s, Zhu Dequn has been separated from the de? Starr El (1914-1955) effect, no longer use segmentation pigment painting knife block surface, focusing on solid lines and color itself, makes the dynamic vividly in front with a smooth brush with strength and speed; after 2000, the artist once again the liberation of visual elements, description and spatial light the shape has become the focus of the picture, night photos "eternal moment" (Lot 1022) showed that Zhu Dequn over forty years of artistic career of different creative characteristics and style.
In a self portrait of Zhu Dequn, mentioned the influence Chinese ancient landscape painting of his, in many masters, especially in the wide range of his works show the majestic momentum and vivid style most admire, Zhu Dequn said: Fan Kuan said its division in person, or a teacher; he. Or the teacher in the heart, the so-called division in the heart, that is the painter for the master, and the abstract concept. But the Chinese do not speak the abstract two words. Nature after the painter's thoughts and fusion and refined, which is the artist's imagination, the connotation of culture and personality is revealed in the picture, China painting and abstract painting ideas agree without prior without previous consultation. "The composition of No. 168 (River Mountain View)" almost pure burnt umber, color is very rare in the known works of Zhu Dequn, but also because of this, we are more likely to feel through pure tone implied in the picture Chinese landscape.
But at the same time with Oriental Art Zhu Dequn in the art of painting and Western painting of gentle and delicate thick rough, it is a concrete manifestation of the tools and techniques of painting he China cultural background and the integration of their historical heritage and the use of the west. Zhu Dequn has a passion for China poetry, and he continues to draw to poetic expression, and his work with heroic qualities and subtle feeling. In 1955, Zhu Dequn left Taiwan to Paris, opened his artistic journey. In 60s, he works in a single color as the background, using the pen and pen width fast sway width thickness lines walk on the screen, when there is a waterfall pour water, quite a momentum; The mighty river flows eastward., but the details are in the fine pen outline winding lines, graceful and restrained as the first look to marry joe.
The main color of the basic traditional ink painting to ink painting language: Wang Weizhi, Tao, ink on the most. Zhao nature, a creature of the power, then clearly pointed out the importance of Chinese aesthetic system in ink painting, ancient painters have and ink combination as symbols of the basic elements, in the minimum use of color, to create the most profound artistic conception. A change in the characteristics of strong oil viscous under Zhu Dequn's pen, watercolor seemed to combine light flow and ink pen deep, only to change this artist rendering monochromatic paint, create a "black, white, thick, pale, dry and wet six color, and in the seemingly heroic sway. Accurately using simple ink, make the visual structure composed of rich and subtle level, medium and long-term prospects, clear structure, forming a distance and depth of the picture, thus creating a vast expanse of space, and in a size between Fan Zhongyan" Yueyang Tower "in the title of the mountains, swallow the Yangtze River, magnificent, limitless.
In Zhu Dequn's recent works, Chinese calligraphy lines become more abstract color combination stack is also more complex, the artist said: the elderly have the most abundant spiritual resources, has a long life experience and memory. I started from 80s, draw my memory, magic swim my memory....... I have to handle memory, memory illusion, like my hometown of wine, the memory as sorghum, then lead to heartburn and burn lung spirits. "The eternal moment" in the river almost the length of the light ribbon like memory, Zhu Dequn little drops of life experience together as a visual element of interwoven, intense strokes such as crack Jingtao shore, sand soft layer gradually like gentle. Zhu Dequn's paintings are not purely abstract structure, but corresponding to the nature of the soul, decades of vicissitudes, or sadness or joy, all through the paint flow sway in the picture, his pursuit of two things I forgot, the harmony between man and nature, but also by the artistic creation and implementation.

Although the western color theory, the object itself is not the color, the color of our naked eye can see the light from the light irradiation part reflected by the object, to create light color, but in the "eternal moment", Zhu Dequn is rich in transparent and bright and dark color levels derived from light. The light is directional, straight strokes like countless reflection, refraction and reflection of light in space, but also have a guiding role, we like living in a dark cave, turning to the light through the myriads of changes, definition, explore, explore its infinite space. Zhu Dequn make snap delineation of a strong contrast in light of the picture, the shadow of subtle changes in atmosphere from the details, such as Bai Juyi's "Mount Lu cottage notes" said: between light and shade, faint once with spit, Qianbianwanzhuang, not Satan Ji, the dark color is mainly around the upper and lower halves, bring the space effect of depression the color is bright, shrinkage, spread to the edge, to create a sense of open space, transparent dark faint light from the light at the junction of the change and render more artists master the media as clever, real or imaginary, separate the permeable garden space, separation and combination of various landscape elements the formation of space in the East with many twists and turns, and to ensure the orderly changes reduced to fragments, and clear outline of the nature of the artist and abstraction, and the self to say Natural landscape aesthetics is very close to nature.
In Zhu Dequn the wanton strokes and lines sway under the guidance of our thoughts are with "the mood in the smoke tree like yunshan. In 70s Zhu Dequn's creation by Rembrandt using color and shading is profound: Rembrandt like white or yellow light type will focus on the thick pen thick dark brown or black background, and the formation of strong contrast and dramatic ups and downs of the picture and create a gloomy and sad atmosphere. Zhu Dequn said: Rembrandt painting light made his paintings more profound and forceful and strong; and in addition to the special style of Rembrandt: strong light and heavy color and broad lines of large touch, Zhu Dequn has always been more personal use fast, similar China "feibai" meaning and collocation of white or other piece of writing light colored blocks, making Zhu Dequn seven 1900's style of painting to get rid of Rembrandt and depressed, but there are elegant and smooth freely flowing style of writing.
In 80s, he used the lines, and a thick pen with China calligraphy and painting is very consistent, Chinese calligraphy pitch, pause and aspect can be found in the works of this period. After entering 90s, Zhu Dequn's works are closer to Chinese painting tradition, and the composition of his double and triple is also affected by Chinese traditional hand scroll. And the work of the titles such as "the revival" and "snow melting bling" or "meditation" has Chinese arts tradition focusing on the universe changes and to explore the association between man and nature.
Wu Guanzhong once said that "the large strings hummed like rain, the small strings seem like whispers" described in the works of Zhu Dequn, formed by lines of rhythm and rhythm and movement and staggered; combined with the picture of light shading formed such as a note the time when the emergency relief, the ups and downs of the melody line point. Overall Zhu Dequn's works are closely related to natural phenomena, especially with light, and these are impressions of the artist's mind. French art critic Pierre Cabanne Bernard once wrote: "true painting comes from memory. "
Zhu Dequn is in profound ways, he described the most dazzling on the past. Zhu Dequn shows to the world of love, the world's fragrance, the lingering aroma gas study, those secular troubles, he is to capture the object. Zhu Dequn to paint nature of the transparent air, cool water, wandering wind, rapid turbulence and early drop ruixue. In the picture often appear pale rosy dawn or a red sunset, the light and mysterious wandering and dancing in them, which is the source of Zhu Dequn works full of vitality. He is in a both exaggerated and lyrical techniques showed a strong and meaningful impression, both dream means and dramatic effect.

Zhu Dequn graduated with honors in 1941 during the Anti Japanese War, in his alma mater as a teaching assistant. 1944 Nanjing Institute of engineering, Centre College lecturer. 1951 Professor, Department of Arts, Taiwan normal university.
These life calendar and experience, so that his "Chinese art and culture chain" constantly advanced and refined. However, he felt at the Hangzhou Academy of fine arts for "western art culture chain is not fully developed. So he resolutely give up in Taiwan has some artistic reputation and academic status, in 1955 by boat Cairo, Spain and other art road came to the world arts Paris. Since then, his "western art culture chain rapidly grow, like" Chinese chain "as high and delicate. This is the "double helix", for infinite combination and mutation, makes him in France and his fame in the world. He held more than and 50 solo exhibitions around the world, good reviews. His works are the Paris Art Museum, Taipei Museum of history, the United States, Belgium, Museum of Contemporary Art, St. Louis University of modern art will fund the French National more than and 20 international famous museum. He won art awards many times. His name included "international biography dictionary", "European celebrity", until the name before the lifetime dubbed "College France art fellow" title. Whether his figurative painting or abstract painting, Western critics all say the same thing: Zhu Dequn is painting painted Chinese ink painting spirit of the master, he went deep and picturesque with rich color, the pursuit of profound space and infinite passion and rhyme, as to have won in super.
The paintings of Zhu Dequn, when is the artificial speaks "ecological humanism" of the people first. By the French Academy of Sciences, the famous sculptor Abel Filo Zhu Dequn designed specifically for the "French Academy sword" is very special, with a four China hilt of traditional literati to express feelings of Gao Jie Jade -- a piece of white marble, two flat hollow turquoise, also is a carved animal mask of amber in the Warring States period. The sculptor said, made by the western modern stainless steel with ancient oriental colorful jade hilt, is a symbol of Zhu Dequn's painting style, is a symbol of the new connotation of the humanistic spirit.
Zhu Dequn is a painter, but his inspiration to people is far more than painting. The relationship between traditional culture and Western culture, people have debated for a century. In this regard, Zhu Dequn said: "Westernization" is again good, but just a cultural chain; ambitious "to let China culture led the twenty-first Century world", there is only a cultural chain; why so silly, not to learn the students life wisdom, will be combined into two strands of the double helical infinite mutation it.
2002 summer, accompanied by Zhu Dequn in, personally feel the vibrant new scene of Shanghai, China and the temperament of the international metropolis. China's development and progress, prosperity and prosperity of Shanghai, Zhu Dequn brought tremendous pride and joy. He was on the Shanghai Grand Theater to inspect, accept the offer from Shanghai - Shanghai Grand Theatre "to celebrate the Five Birthday" the creation of a painting masterpiece. He said: I have long for the motherland to leave a painting idea, it can express my mind, I gave it to the Grand Theater, but also to my motherland."
This epic effort and talent condenses the life of the elderly. Zhu Dequn created 9 small drafts for it, named "Shanghai Grand Theatre oil painting preparation series" "one" to "the nine", its color from strong to delicate, harmonious, line also from simple to smooth, mature. In order to create a huge oil painting, Zhu Dequn ordered the special paint, can keep 100 years do not fade. Canvas is custom from Russia, weighing more than and 300 kilograms, no seams. He also customized the use of painting electric elevator, every day on the lift platform air operations four or five hours. In order to draw the picture of 4 meter high giant painting, eight year old Zhu Dequn day dragged the body of the elderly, climb up and down in the elevator, often to draw a pen and look down, feeling. So up, very hard. In 8 months, Zhu Dequn step by step the hearts of a dream -- to the motherland to draw a picture of the most beautiful painting.
This picture is called "Renaissance artistically" paintings, contains a "Renaissance" theme. Zhu Dequn likes classical music, in the creation of this work he has been listening to Beethoven's "Pastoral Symphony", the natural, lyrical melody to bring inspiration to him. He wanted the paintings to be rhythmic and rhythmic, to be a silent music. Artists think China's past has been an agricultural country, and now is slowly transformation, and he grew up in the countryside, folk landscapes, there are many memories. "Pastoral Symphony" to an idyllic spring busy color feeling, this feeling with his understanding and longing for the rejuvenation of the Chinese are consistent. Zhu Dequn believes that the beauty of nature is like music, without language communication, as long as the heart feel, you can depict the scenery of the heart. In this piece of music of the painting, Zhu Dequn used rich colors and new forms of this theme.

A modern artist must be able to withstand the value judgments of different cultural backgrounds. Zhu Dequn lived in Paris for more than twenty years, with a Chinese identity by objective review of local art, the following is the four art critic: Gerald Gassiot-Talabot, Paoul-Jean Moulin, Hubert Juin, York Liersch on the comprehensive review of the quoted what he did.
In the most liberal expression of modern art today, Zhu Dequn is loyal to himself, loyal to his race, loyal to the country of his oldest traditions. He had overcome and study volunteers, where be the most changeful creation, Zhu Dequn's personal realm completely decided in a difficult to measure Libra: on the one hand the pack of major pressure of human spirit and artistic heritage, on the other hand is a tempting international painting faction, that for some people, will refuse to belonging to the classification, due to environmental or regional however, fortunately, the painter of his wisdom to avoid these pitfalls because most threatened people, and beyond the Chinese and Western ambiguous zone.
His painting is a natural outpouring, trembling, enthusiastic, he does not care about those theorems, rules, visual boundaries, or a variety of signs, his painting is a lyrical dedication.
Because he is aware of his knowledge in his painting work in the "original", so it leads to some international research and development. This study is an abstract concept in the lyric (abstraction LYRIQUE), because of its significance relates to the relationship between man and the universe, we can use abbreviated term as abstract landscape painting (Paysagisme Abstract). In fact, in the future, and not a landscape area scenery briefly described, but the scenery in this area as a natural organism, in which one is only a combination, from painting to try to translate his pulse, his blood pressure and some changes with time. Zhu Dequn bold use of rich colors in Western painting, he has a keen sense of the material itself, according to the Chinese traditional painting, calligraphy and painting are very poetic skillfully together, he has the experience of painting, so completely dominate the painting skills.
Painting and writing as a gesture, Zhu Dequn deliberately reality and answer the questions in the painting, our eyes can see, there is a direct relationship with the number of the cultural heritage. This time, we will have a inherent scenery, suddenly ejected imagine raw, rushed to us, and took us to disappear in those dreams, in the blink of the abyss, the wind in the open field, memory, retreat melt, leaching into the canvas as color texture. Ramic (Paris art critic) introduces the preface of the painting of Zhu Dequn:...... Perhaps it is the power of fancy in the painting, without question, without control, to stimulate the imagination of the painter, and to enlarge....... In Zhu Dequn's paintings, we experience the adventure, proved this attractive phenomenon, is a mysterious connotation of performance.
Paris literature and art critic Hubert Juin once said: oil painting, something strong force you to go deep. Is it a speech? Don't say it's a peaceful affair. In general, when a symbol appears, it represents all. Of course, this is extremely illusive, he thought Zhu Dequn's paintings are not demanding "reading", but need "meditation, meditation". Draw out the works, here can not be called a book, in other words is a skill on the details, or the views of some of the viewpoints of cohesion to explain the meaning of a line, a description or a anecdotes. The problem is there is a contrary question: our sight in a moment will be unveiled, to provide run "and so unsmooth throw the helve after the hatchet" the impact of tightening housing. This is his "face", when only the quiet symbol answer, this is the way of communication!
Zhu Dequn's painting is not a thing but an entity. It took him in the field of space, this is real, this shows that Zhu Dequn's painting of the self affirmation: as a entity in a field like, are significant in the current reality, from the beginning of this time, the audience will fall in their own eyes in a considered object the trap, because of Zhu Dequn's paintings have elaborated its self ability so circuitous. Because of the significant reality and urgent designated areas, the works of Zhu Dequn kept constant to, this is his true colors, therefore we in meditation in painting is to find out the answer to communication.

Not closed or blocked in Zhu Dequn's paintings of the intention, we can not say that he is to start from somewhere, but can not say that is to stop somewhere there, or the end. He does not start from a certain point to another point, he is a real Avenue (Road), people have such experience, the road is no boundaries. Zhu Dequn's painting is not "image", but he can make people awake, especially can stimulate the people's "image", like a jet kept in the fountain, consistent normal, is endless transformation. The audience does not understand why some people work will pass in front of the moment, this is because he has a picture read, the meaning of it all finished, because these too close in their own content, in the opening of communication is too timid, as long as people come to look it will pale, only repeated voice is repeated, the smaller in there until the silence becomes an empty pretense, this is a strong will of the poet Zhu Dequn really avoid, his painting is not closed.
Since 1955, he began painting in Paris, the Paris school and did not give him much influence in his cloud landscape in ancient China thought, China ancient academic performance today to the nuclear age of the universe, there is no one and nothing, is only the two basic elements of endless changes in in the arena, Yang (day) - light, warm, burning, Yin - (to) shade, moist, and Hagel's Dialectics in the form of a "positive" and "negative", so in the same light, between the homologous students of Zhu Dequn's landscape painting to the wisdom of mankind can the capture of heaven and earth "people", he never indulged in India's Elysian Fields.
Zhu Dequn with convincing lines never draw to precise character, make the fantasy become a surprise in the pink of perfection, his picture has no perspective western lines, and look at the subject from a distance, appeared several points, overlapping phase replacement, configuration in different plane on the order of. In fact, in the west, the only thing that Zhu Dequn is moved by contrast light and shadows Rembrandt, this is purely from direct observation of nature, with Chinese ink paintings, Jane release, has shown space and light.
Some people say that Zhu Dequn's paintings like a shower of brilliance. He is full of poetic and lyrical abstract painting, modern painting by the French historian described as "the strong and delicate blend of Western painting Oriental art the most successful artist."

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鲁ICP备12031715号-1 法律顾问:杨俊涛律师 客服QQ:800015090