苏高礼，1937年3月18日生于山西省平定县南阳胜村；1958年毕业于中央美术学院附中，并就读于中央美术学院油画系；1960年—1966年留学前苏联列宾美术学院，毕业于A·梅尔尼柯夫工作室；回国后任教于中央美术学院至今。先后任中央美术学院油画系第二工作室副主任、油画研修班工作室主任、城市设计学院教学顾问，中央美术学院教授、中国美术家协会会员。1997年所主持的油画研修班的教学获国家教委和北京市教委颁发的成人教育成果奖。1999年获国务院颁发的政府特殊津贴及表彰证书。艺术作品广为展出、刊载和收藏。出版有《苏高礼写生画集》、《素描教学》等。

艺术创作绝对离不开艺术家感情的投入，其实艺术的技术学习过程也应该是如此的。以表达情感为出发点的绘画实践才称得起为艺术实践。在我的素描、速写作品中这一点是突出的，因此现在看起来还能感受到几十年前当时作画时的心态．这是一种和对象紧密呼应的心态，总能从画面上感受到一种情的流露，纯技术的，不疼不痒的画面很少见到。就算是画那些没有生命之物，在作者笔下也能感受到作者的情趣所在。艺术创作永远是以情感为主导的，当然也离不开理性，但这里的理性、人文的关怀--------苏高礼.

1976年，参加中央美术学院工农兵学员班林县教学组，带领部分学员驻占头村数月，与农民同吃、同住、同劳动。完成以修建红旗渠的除险英雄为范本的“越是艰险越向前”的油画创作，同时完成写生作品“红旗渠”“新媳妇”等数十幅,
1977年，先后完成“周总理是我们的贴心人”（合作）、“毛主席、周总理和朱委员长”（合作）等大型油画创作。后半年与闻立鹏、杜键等先生先后到昔阳县、左权县、林县、济源县等地（从太行山到王屋山）深入生活、写生创作，完成“厚庄”、“麻田村口”、“黄背角村”“老民兵”等作品数十幅
1978年，中央美术学院油画系组织教员赴敦煌观摩和临摹传统壁画。随后与闻立鹏、马常利等先生赴青海深入生活写生创作，完成“牛心山”、“百杨沟”“高原牧民”等作品数十幅。秋天与冯法祀、詹建俊等先生赴黑龙江林区写后，完成“黑土地”、“开垦处女地”等作品。此次外出因劳累过度病倒不得不半途而返住院治疗。
1979年，完成大型油画创作”不可磨灭的记忆”(合作)参加全国展览并获奖,被中国美术馆收藏.同时担任壁画工作室研究生班的素描教学,由此开始专题研究素描教学的有关问题.
1980年，与高亚光等先生赴山西大同、太原、平遥、汾阳、洪洞、河津、稷山、侯马、芮城以及陕西的西安、咸阳、陵潼、河南洛阳等地考察传统艺术，作有考察笔记
1981年，与闻立鹏、马常利等先生赴湖南吉首、大瘐张家界、凤凰县、广西龙胜、桂林、柳州等地写生，完成“峒江摆渡”、“凤凰城”、“张家界林场”、“杨堤”等作品数十幅
1982年，与杜键、高亚光先生先后赴平山、涉县、赞皇等太行山地区深入生活、积累素材，为完成大型没画他作“太行山上”做准备
1984年，完成大型 油画创作“太行山上”（合作）
1985年，应邀赴云南曲靖地区讲学并到陆南撒妮族地区写生，完成“带忠字的石寨”、“红土地”等作品
1986年，赴新疆乌鲁木齐为美院油画系举办的美术培训班讲学并到乌鲁木齐南山写生，完成“哈撒克人家”、“丛树”等作品
秋天赴山西平定老家和昔阳县写生创作，完成“老院”、“东阁”、“过丁峪乡”等作品
1986年以后担任油画系第二工作室副主任，全力放在主持画室教学的工作上，1993年又调任油画系研修班工作室主任工作，虽然完成一些架上创作，但始终未能抽出时间下去写生。2000年以后又陆续花了些时间对过去数百幅写生作品进行了整理，因此有了后来的几次展览和画册出版。
 

中央美术学院美术馆 “苏高礼油画艺术暨捐赠作品展”昨日在中国美术馆隆重开幕 

中国美术馆：中国美术馆、中国美术家协会、中央美术学院共同主办的“苏高礼油画艺术暨捐赠作品展”昨日在中国美术馆举行隆重的开幕式。这次展览是继2000年中央美院举办的“苏高礼油画写生作品展”和2003年北京国际艺苑美术馆举办的苏高礼第二次油画写生作品展之后，第三次个人油画展。这说明了苏高礼的艺术成就正被越来越多的人所认识，本次展览由中国美术馆、中国美术家协会、中央美术学院共同主办，并且通过捐赠将部分作品纳入国家美术作品的专项收藏，可见展览学术价值及其社会意义之大。

全国政协副主席李贵鲜先生，北京市政协副主席黄承祥先生，中国美协主席靳尚谊先生，中国美术馆馆长范迪安先生，中央美院党委副书记、中国美协副主席吴长江先生，中央美院造型学院院长戴志和先生，中央美院城市设计学院院长诸迪先生，山西省油画学会会长、原山西大学美术学院院长韩植墨先生，山西省阳泉市美术学院院长王雨来先生，山西省平定县文联主席贾志洋先生，河北省石家庄画院院长陈承齐先生等嘉宾出席了开幕式。

苏高礼，1937年生于山西省平定县，1954—1958年就读中央美术学院附中，毕业后被保送至中央美术学院油画系学习，1960—1966年赴苏联留学，毕业于列宾美术学院油画系梅尔尼科夫工作室。回国后，任教于中央美院，现为中央美术学院教授，中央美术学院城市设计学院教学顾问，曾任油画系第二工作室副主任、油画研修班工作室主任。

人们最为熟悉的是1986年以后，特别是1993年担任央美油画研修班工作室主任的苏高礼，大家都称呼他苏先生。在教学上他是认真又得法，待学生如亲子，深得学生爱戴。他的为人为艺都深刻影响了学生们，从那些毕业后留学国外继续深造的学生还有在国内从事艺术评论的学生的回忆文章中都能感受到对老师的感恩之情。中央美院研修班在苏高礼主持时，可谓鼎盛一时，全国各地的油画精英无不梦想跨入她的门槛，实际上粗略统计一下，现在活跃画坛的各地油画名家大都有受教于此的经历，由此可见苏高礼的地位和影响。研修班的教学在他主持时因为成绩显著还获得国家教委颁发的“高等成人教育成果奖”。

作为油画家的苏高礼几乎为教名所淹没，因为他的低调，很少人能充分认识他70、80年代的大量油画作品的价值，直到2000年他从教学岗位上退下来，美院为他办了第一个个人展览，才打开了人们的眼界，让人耳目一新，惊诧于他多年来的艺术积累，为画坛吹进一股质朴清新之风。

苏高礼的油画具有明显的时代特点。画家成长在社会主义的美术教育背景下，那是一个群众美术的时代，艺术与生产劳动结合、艺术与工农结合是六七十年代的文艺主旋律，苏高礼列宾美院的毕业创作《工农商学兵》就是很好的体现和例证。当然这只是一个阶段，尚不足以代表其成熟时期的艺术面貌。回国以后不久，适逢美院“社教运动”和“开门办学”，苏先生随之下放河北获鹿县农村参加农活劳动。70年代，他参加了三次美院组织的业余群众美术辅导班：一次是1974年中央美术学院首届工农兵学员班户县教学组，在户县农村教学一年并辅导群众美术。一次是1975年美院组织教师为大寨展览馆创作美术作品并常驻武家坪村辅导群众美术。一次是1976年带领中央美术学院部分学生在河南林县开门办学进行美术辅导。这段时期画家的创作可以说是在与群众的结合的过程中展开，他在教学之余，真正深入到农村生活的第一线，吃住在老乡家里，与他们同劳动、交朋友、拉家常，了解他们的内心世界，发掘他们的性格特征，从而对农村的人与事物有了具体深刻的理解。生活和思想上的大众化使他的艺术在没有阻碍、没有间隔的情况下，十分自然的贴近了时代，获得了浓郁的时代气息。从展览中的《大寨的梯田》、《参观大寨》等大寨纪事的组画中，我们可以感受到当年大寨人的创业精神和时代风貌，这些作品因为忠实记录了中国乡村的时代变迁和历史影像而具有极为珍贵的史料价值。

苏高礼油画艺术的另一个特点就是写生。他的油画之路其实是一条写生之路，他的数百幅写生作品确立了个人艺术面貌也奠定了他在新中国油画史上的地位和成就。在60年的艺术生涯中，画家走遍了山西、陕西、河南、河北乃至整个中国北方的乡村，立足于农村生活的感受，形成以家乡风景和人物为主要题材的朴素自然，具有浓郁民族特色和生活气息的油画风格。

展览中最能代表苏高礼艺术成就的就是他的油画写生，这些作品具有写生的美，那么新鲜，生动，有一气呵成之感。唯有对景写生才可能有这种不可重复的生动性。但是真实的景物是极难把握的，并不是所有的自然片断都可以入画，以至于有很多人在画风景时先预设了某家图式，再拿现实的景物去套，将写生形成套路，否则茫然一片无从下手，像苏高礼这样取景造境变化万千，处处都能形成画面又能够张张不同，张张精彩实属不易。从中体现了他高超的艺术把握能力。我们从他画的《红旗渠系列》就可以领略到这种风采，有从半山腰凌空俯瞰，取渠水蜿蜒曲折之势；有峭壁兀立直逼眼前，渠水环抱其下之奇险之姿都是风景画中难得一见的新境界，在《黑土地》一画中，前景在大片向右方发展的沃土和从中景向远方发展的原野形成“之”字形延伸，大开大合，畅快淋漓。有画窑洞农家的，如《出工前》、《窑洞和花》、《家乡窑洞》，则直接从全正面取景，以平面化的手法将窑洞门前表现的那么安然和富有特点，生活味和人情味扑面而来。

 苏高礼的油画艺术的独到之处还在于既写生又超越了写生，写生中包含了创造的思想成分，即他不是从外表现象上去描绘风景之美，不是高高在上的精神贵族远距离的审美观照，而是自己就融化在所画的生活之中，不仅是用审美的眼光，而且是以普通劳动者的感情来观察感受这片乡土，写生的过程就是他精神上亲近家园的过程。他画的都是他熟悉的，不论是大婶、媳妇、老羊倌，还是村口、水库、梯田，从这些熟悉的事物中，他看到的不仅是好看的颜色、线条，透过这些流露出的是他对乡土生活的热爱，就好像农民看到自己的庄稼地一样的感情，是地地道道一位太行之子对家乡的情怀和人文关注使他的作品超越了一般的写生的意义，有评论者以现实主义的艺术精神来阐释他的作品，从本质上说，他的作品具有朴素的关注现实的品格，而非诗性追求浪漫的一路。

本次展览还展出了苏高礼先生与人合作的几幅历史画大作，其中与杜健、高亚光合作的《不可磨灭的记忆》描绘的是1976年4月5日中国历史上的重大历史时刻，群众在人民英雄纪念碑前悼念总理的场面。画面突破单一视点的局限，将不同情绪、不同状态下的人群汇集到一起，突出了肃穆、庄严、雄浑的悲歌主题，产生了震撼人心的效果。此后，他又尝试把不同时空场景组合搬进油画创作，开创了具有象征性的油画壁画风的新语言。

欣赏面对生活的写生作品，是一种审美享受，这可能因为写生的东西，总是带着生活的生动性和表现上的不可重复性的缘故，而且作者真实的个性，也很自然地呈现在其中。因此，看写生作品，比看那些正儿八经的所谓“创作”，有时更让人感到亲切、动人。

前些时候有机会在苏高礼的画室欣赏他的作品。在他的写生作品中，我感受到一种颇有吸引力的、苏高礼特有的“人质魅力”。

苏高礼很小就离开老家山西平定到石家庄读书，初中毕业后一个人到北京中央美术学院附中上学，后来又到苏联列宾美术学院学习，回国后和美院一同经历了几十年的风风雨雨，但是，在经历了所有这些之后，我发现，当初他从山西平定老家带出来的那股“乡情”，却未见淡薄。苏高礼现在是“吃过洋面包的教授”，但与他常相处的人都会感觉到，在他的性格中，农民的真诚和朴实是更为内在的特色。我们从他多年积累下来的作品中可以看到，他端详的最多，最使他动情的，始终是他的老家——太行山。是那里的山，那里的水，那里的梯田，砖石砌的窑洞，还有那里的大爷、大妈和年轻人。他的画就像和朋友自豪地介绍他的家乡以及父老乡亲，在他独特视角的引导下，我们认识了那些生机盎然的村落和他们的主人，看到人情味十足的庭院和窑洞里的陈设。与此同时，我们也正是从这些作品的形象中，从苏高礼的用笔、设色以及整个画面的处理中，看到他的智慧和情感，看到苏高礼的可爱之处。常言道：艺术家在捕捉外在形象的同时，必然也要把自己的形象投射进去。我甚至觉得，艺术家是为了显示自己（自己的主张、自己的情感、自己的聪明才智、自己作为一个人的一切优势），才去“反映生活”的。这样说并不过分，因为连这点儿热情和自信都没有，就算不上个艺术家。

60年代他在山西平定县的《羊倌》、70年代在河南辉县画的《石姑娘》等人物，以及在华北地区画的许多风景，都让人回忆起那个令人心情十分复杂的年代。是人民巨大的承受力和乐观精神，使我们国家越过那个历史阶段。苏高礼在画这些作品时，由于他自己是融合在他所画的生活之中的，他的真诚使这些作品十分自然地获得浓郁的时代气息。这就是他的这些写生作品的主要价值所在。

作品积淀的文化根基是否深厚、语言和艺术技巧是否精美，是构成作品魅力的重要所在，历代留下许多在这方面令人叹为观止的作品，使人们感到，人类的聪明才智真是不得了，但是，我以为作品所表现的某个时代的优秀的精神气度，各种美好、健康的心理品质，往往是构成作品美学价值的更为重要的因素。因为人类在自己的生存、发展的历程中感受到，如果自己不能持续不断地优化这些品质，人类就会衰退。于是，生存和发展的本能促使人们在衡量艺术品时，自然地把作品所具有的精神品质，作为审美评价的第一要素。

苏高礼写生时总是比较直接地把自己看到的场景记录下来，在记录的同时，把感情自然地灌注其中。因此，在他的作品中一切都很平实，看不到特意制造的油画的“笔墨的挥洒”，也没有“外光写生练习”的学生腔。他画画，就像和朋友讲述一个故事。由于他的真诚和恳切，他的故事能打动人。

画画需要技巧，需要聪明才智，需要敏锐的视觉感受能力。没有这些，谈不上艺术家的“人质魅力”，很难算是个艺术家。苏高礼在这方面受过严格的训练，下过苦功。难能可贵的是他的技巧不着痕迹。他决不离开真实的感受去张扬技巧。艺术其实是一种非常朴素的劳动，而有人以为采用那种矫饰的、做作的手法才算有艺术性，真是莫大的误解。

有的艺术家是“文”胜于“质”，有的艺术家则“质”胜于“文”，苏高礼属后者。

在我自己学画的过程中体会到，要掌握技巧并不容易，需要花许多精力和时间，然而要具有朴素、真诚的作画态度和美好的心理品质，更难、也更重要。我喜欢苏高礼的画，正是因为在这方面，他有优势，并且给我以启发。

Su Gaoli, born in March 18, 1937 in Shanxi province Pingding County Nanyang Sheng Cun; 1958 graduated from China Central Academy of Fine Arts high school, and enrolled in the oil painting department of China Central Academy of Fine Arts; 1960 - 1966 to study the former Soviet Union, Repin graduated from the Academy of Fine Arts, A in the studio; after returning home at China Central Academy of Fine Arts today. He has served as deputy director of the Department of oil painting, China Central Academy of Fine Arts, second studio, oil painting seminar, director of the studio, Urban Design Institute, Professor, China Central Academy of Fine Arts, China Artists association. 1997 oil painting seminar teaching by the State Board of education and the Beijing Municipal Education Commission issued the results of adult education award. Government special allowance and recognition certificate issued by the State Council in 1999. Works of art are widely exhibited, published and collected. The publication of "Su Gaoli" on the album, "sketch sketch teaching" etc..
Artistic creation can not be separated from the artist's emotional investment, in fact, the art of technological learning process should also be so. The practice of painting to express emotion as the starting point to deserve to be called for art practice. In my sketch, sketch works in this point is prominent, so now looks can feel a few decades ago when painting mentality. This is a kind of object and closely echoes the mentality, always feel from the picture with a feeling, pure technology, do not ache not to itch the screen is small see. Even if it is not the life of the painting, in the author's pen can also feel the author's taste. Art is always driven by emotion, of course, also cannot do without the rational, but rational, humanistic concern here - Su Gaoli.
In 1976, China Central Academy of Fine Arts teaching worker peasant soldier students County ban Lin group, led the students in village accounted for several months, and farmers eat, live and work together. In order to complete for the hero as a template to build the canal "the more dangerous the more forward oil painting", "painting works completed at the same time the canal" and "new wife" and other dozens of pieces,
In 1977, has completed the "Premier Zhou is our close friend" (cooperation), "Chairman Mao and Premier Zhou Enlai and chairman Zhu" (cooperation) and other large oil paintings. After half a year with Wen Lipeng, Mr. Du Jian went to Xiyang County, Zuoquan County, Lin County, Jiyuan county and other places (from Taihang Mountain to Wang Wushan) into life, sketch creation, "Hou Zhuang", "Matian village", "yellow dorsal horn" old village "militia" and other works
In 1978, the oil painting department of China Central Academy of Fine Arts joined the visit to Dunhuang organized and copying traditional murals. Subsequently, Mr. Ma and Wen Lipeng Changli went to Qinghai to go deep into the life sketch, "Niuxinshan", "Bai Yang Gou" "plateau herdsmen" and other works. Fall with Feng FASI and Zhan Jianjun went to Heilongjiang to write after Mr. forest, complete the "black land" and "land reclamation" and other works. The sick have to go out due to overwork halfway back to hospital treatment.
In 1979, the completion of large oil painting "an indelible memory" (cooperation) to participate in the national exhibitions and awards, is China artgallery. At the same time as the mural studio research sketch teaching class, started to focus on issues concerning the sketch teaching.
In 1980, Mr. Gao Yaguang went to Shanxi and Taiyuan, Pingyao, Datong, Fenyang, Hongdong, Hejin, Jishan, Houma, Ruicheng, Shaanxi, Xianyang, Xi'an, Henan, Luoyang, Ling Tong of traditional art, as study notes
In 1981, with Wen Lipeng, Mr. Ma Changli went to Hunan Jishou, Zhangjiajie Yu, Guangxi Fenghuang County, Longsheng, Guilin and Liuzhou provinces, to complete the "Tong River ferry", "phoenix", "Zhangjiajie forest", "Yang Di" and other works
In 1982, Mr. Gao Yaguang, and Du Jian went to Shexian County, Zanhuang, Taihang Mountain, Pingshan area into life, the accumulation of material, for the completion of large not drawn to him as "Taihang Mountain" to prepare
In 1984, the completion of large-scale oil painting "Taihang Mountain" (cooperation)
In 1985, he was invited to Yunnan from Qujing to give lectures and to land south Sani nationality area, complete the "loyalty Shi Zhai" and "red earth" and other works
In 1986, Urumqi went to Xinjiang for the Academy of art held art training and lectures to Urumqi Nanshan painting, complete the "Kazakh people", "tree" and other works
Autumn in Shanxi province and Xiyang County Pingding sketch creation, completed the "old school", "Dong Ge", "Ding Yu" and other works
Since 1986 second served as deputy director of the Department of oil painting studio, to put in the studio teaching presided over the work, in 1993 and transferred to the director of Oil Painting Department of the seminar workshop, although some paintings, but did not have time on the sketch. After 2000, it took some time to sort out the works of hundreds of paintings in the past, and therefore, several exhibitions and pictures were published.
China Central Academy of Fine Arts Art Museum Su Gaoli oil painting art and Exhibition donation yesterday at the Chinese Gallery grand opening

China Central Academy of Fine Arts Art Museum Su Gaoli oil painting art and Exhibition donation yesterday at the Chinese Gallery grand opening
China Gallery: Chinese Art Museum, China Artists Association, China Central Academy of Fine Arts jointly organized the Su Gaoli oil painting art and donated Works Exhibition "held a grand opening ceremony yesterday at the Chinese art museum. The exhibition is organized by the Central Academy of Fine Arts in 2000 following the Su Gaoli's oil painting exhibition "and the 2003 Beijing International Art Museum Su Gaoli second oil painting exhibition, third personal painting exhibition. This shows that Su Gaoli's artistic achievement is more and more people know, this exhibition is jointly sponsored by the China Art Museum, Chinese Artists Association, China Central Academy of Fine Arts, and the donation will be part of the work included in the national art exhibition of special collections, academic value and social significance of the visible.
Vice chairman of the CPPCC National Committee, Mr. Li Guixian, vice chairman of Beijing, Mr. Huang Chengxiang, Mr. Jin Shangyi, chairman of the United States China, Chinese Art Museum of Central Academy of fine arts Dean Mr. Fan, deputy secretary of the Party committee, vice chairman of China Association Mr. Wu Changjiang, Mr. Dai Zhihe, Dean of the Central Academy of fine arts design school, Dean of the Central Academy of Fine Arts School of design of city of Shanxi Province, Mr. Zhu Di, oil painting society president of Shanxi University, former dean of Academy of Fine Arts, Mr. Han Zhimo, Dean of Academy of Fine Arts, Shanxi city in Yangquan Province, Mr. Wang Yulai, Mr. Jia Zhiyang chairman of Shanxi province Pingding County Federation of Hebei province of Shijiazhuang painting academy, Mr. Chen Chengqi and other guests attended the opening ceremony.
Su Gaoli, born in 1937 in Shanxi province Pingding County, from 1954 to 1958 at the Middle School of China Central Academy of Fine Arts, graduated from the oil painting department of China Central Academy of Fine Arts was sent to study from 1960 to 1966 to study in the Soviet Union, Repin graduated from the oil painting department of Academy of Fine Arts melnicov studio. After returning home, taught at the Central Academy of fine arts, Professor of China Central Academy of Fine Arts, China Central Academy of Fine Arts city college teaching design consultant, former director of studio second, deputy director of oil painting department seminar workshop.
People are most familiar with is after 1986, especially in 1993 as the Central American painting seminar studio Director Su Gaoli, everyone call him mr.. In teaching he is serious and well, to the students such as parenting, won the students love. For his art had a profound impact on the students, can feel gratitude to the teacher from those studying abroad after graduation students to continue their studies and engaged in art criticism in the domestic students' memories of the article. China Central Academy of Fine Arts in Su Gaoli presided over, is at its peak, around the country have entered the threshold of her painting elite dream, actually a bit rough statistics, now active around the painting painting masters have learned from this experience, thus Su Gaoli's status and influence. When he presided over the teaching of teaching in the class, because the results were also obtained by the State Education Commission issued the higher adult education achievement award".
As the painting is almost overwhelmed by Su Gaoli, because of his low-key, very few people can fully understand his paintings in 70 and 80s value, until 2000 when he retired from teaching art, do the first personal exhibition for him, just opened up new horizons for people, let people find everything fresh and new, surprised in his many years of accumulation of art, painting is blown into a simple and fresh wind.
Su Gaoli's oil painting has obvious characteristics of the times. The art education in the socialist painter growth background, it is a mass art era, art, art and combine with productive labor is the main theme of the 60s and 70s workers and peasants with art, Repin Su Gaoli academy graduation creation "soldier" workers and peasants business is a good example of the body and. Of course, this is only a stage, is not enough to represent the artistic features of its mature period. Shortly after coming home, coincides with the Academy of fine arts "social education movement" and "open education", Mr. Su subsequently sent to the countryside to Hebei Huolu County in farm labor. In 70s, he participated in the amateur three Academy of fine arts organization of fine arts classes: one is the Huxian China Central Academy of Fine Arts in 1974 the first gongnongbing class teaching group, and one year in Huxian rural teaching and guidance of mass art. One is for the exhibition hall creative art works 1975 Academy of fine arts teachers and organizations resident Wu village masses art counseling. Once in 1976, led by China Central Academy of Fine Arts, some students in Henan Lin county to open the door for art counseling. The painter of this period can be said to be launched in the creation process of combining with the masses in his teaching, really into the first line of the rural life, eat fellow living in the home, and they work together, make friends, chatted about their inner world, explore their personality traits, thus for rural people and things have a profound understanding of the specific. Life and ideology of the popular make his art in the absence of obstacles, no interval, very natural close to the times, get a rich flavor of the times. From the exhibition "Dazhai terraces", "visit", the chronicle of Dazhai Dazhai group painting, we can feel that Dazhai people's entrepreneurial spirit and the spirit of the times, these works because the country China faithfully recorded the changes of the times and historical image and has the extremely precious historical value.
Another feature of Su's oil painting is painting. His painting way is actually a road of life, his hundreds of paintings to establish a personal artistic outlook also laid the status and achievements in the history of new China's oil painting. In 60 years of artistic career, the artist traveled to Shanxi, Shaanxi, Henan,

Appreciate in the face of life painting works, is a kind of aesthetic enjoyment, this may be because sketching things, always with a vivid and performance of life can not be repeated because of the author's real personality, naturally present in them. So, look at the painting works, than to see the so-called "creation" of those serious, sometimes make people feel warm and touching.
When there is a chance to appreciate his works in Su Gaoli studio. In his paintings, I feel a kind of attractive and unique charm of Su Gaoli "hostage".
Su Gaoli is left home to study at Shijiazhuang Shanxi Pingding, after graduating from junior high school to a Beijing middle school affiliated to the China Central Academy of Fine Arts to go to school, then to study the Soviet Union Repin after returning to the Academy of Fine Arts, and the Academy of fine arts together after decades of experience in the groundless talk, but after all these, I found that "nostalgia" from his original Shanxi Pingding brought out home, but not weak. Su Gaoli is now a professor of bread and bread, but he often get along with people will feel, in his character, the farmer's sincerity and simplicity is more intrinsic characteristics. We have accumulated from years of his works can be seen, most of his gaze, the most that he is always emotional, his hometown -- Taihang Mountain. There is a mountain, where the water, where the terraced brick cave, and there's uncle, aunt and young people. His paintings are like friends and proud to introduce his hometown and folks, in his unique perspective under the guidance of our understanding of those vibrant villages and their owners, see people courtyard and intimate furnishings in the cave. At the same time, we are also from these works in the image processing from the Su Gaoli brushwork and color and the whole picture, see his wisdom and emotion, see the loveliness of Su gaoli. As the saying goes: the artist in the capture of the external image at the same time, should also be put in their projection image. I even think that artists are in order to show their own (their own ideas, their emotions, their intelligence, their own as a person of all advantages), to "reflect the life" of the. This is not too much, because even the passion and confidence are not, even if not an artist.
In 60s he was in Shanxi Pingding County "shepherd", in 70s in Henan Huixian stone painting "girl" and other characters, as well as many scenic areas in North China painting, are reminiscent of the era's mood is very complex. It is the great endurance and optimism of the people that make our country cross the historical stage. Su Gaoli in painting these works, because he is fused in his paintings of life, and his sincere make these works very natural to get rich flavor of the times. This is the main value of his painting works.
The accumulation of deep cultural foundation works, whether language and art is exquisite, is an important work where the charm of history, leaving many people in this area as the acme of perfection works, make people feel, human's ability and cleverness is amazing, but I think works showed a time of good spirit. Good and healthy psychological quality, which is often works the aesthetic value of the more important factors. Because human beings in their own survival and development in the course of feeling, if they can not continue to optimize these qualities, the human will decline. Therefore, the survival and development of the instinct to make people in the measure of the works of art, the work of nature to the spiritual quality of the works, as the first element of aesthetic evaluation.
Su Gaoli painting is always more directly to see the scene recorded in the record, in the record, the feelings of nature. Therefore, in his works are all very modest, not to deliberately create the painting of the "ink sway", no "students outside the cavity light painting practice". He paints pictures, like telling a story to his friends. Because of his sincere and earnest, his story to impress people.
Drawing requires skill, need to be intelligent, need keen sense of vision ability. Without these, it is difficult to talk about the artist's "hostages", it is difficult to be an artist. In this regard, Su Gaoli received strict training, worked hard. What is his skill buzhuohenji. He will never leave the true feelings to make a show of skill. Art is a kind of very simple labor, but some people think that the kind of pretentious affectation, is artistic technique, it is a great misunderstanding.
Some artists is the "text" is better than "quality", some artists "quality" rather than "text", the latter is Su gaoli.
In the course of my own painting experience, it is not easy to master the skills, need to spend a lot of time and energy, but it has the simple and sincere work attitude and better psychological quality, more difficult and more important. I like the painting, it is because in this regard, he has an advantage, and give me inspiration.