谢东明

谢东谢东明(1956-)北京人。副教授。1984年毕业于北京中央美术学院油画系。获学士学位,现任油画系教授

现为中央美术学院教授

博士研究生导师

学院学术委员会委员

中国美术家协会油画艺术委员会副主任

中国油画学会理事 艺术委员会委员

中国国家画院油画院研究员

  • 中文名谢东明
  • 性别
  • 国籍中国
  • 民族汉族
  • 出生地北京
  • 出生日期1956年
  • 职业油画系教授
  • 毕业院校中央美术学院油画系
  • 代表作品"守望者"系列作品、"静物--桶"系列作品、"乡间生活"系列作品等
成就及荣誉

 1986年开始创作《藏女》系列作品,展出于北京“当代油画展”和“国际艺苑第一回油画展”;文章《我的出

发点》与《草原之梦》等十幅作品发表于同年《江苏画刊》第4期。1989年开始创作《桶》系列作品,展出于1990年在北京举办的“中央美术学院油画系教师作品展”。1991年在香港举办的“谢东明油画展”。1992年开始创作《守望者》系列作品,文章《谢东明的桶》(戴士和文)、《回顾 思考》(谢东明文)并《静物——桶》等七幅作品发表于同年《美术研究》第4期。1994年《守望者》系列作品展出于北京“四月画展”。开始创作《泣》系列作品,同年展出于北京“林延,谢东明近作展”。1995年《守望者》、《泣》系列作品展出于美国亚洲艺术协调议会举办的“现实主义的复兴——谢东明、作品展”。同年中国现代艺术品评丛书《谢东明》卷由广西美术出版社出版。1996年创作《乡间生活》系列作品,首展于《重复·开始96油画展》北京,《首届中国油画学会展》北京。1997年《中国油画肖像艺术百年展》北京,《47届威尼斯双年展》意大利。《亚洲艺术展》孟加拉国。1999年《世纪之门》1979-1999中国艺术邀请展。成都,2000年《20世纪中国油画展》北京,《我的世纪,我的同胞》纸上作品巡回展。

画评

 谢东明的艺术内质是向往一种健康的有强烈阳光的绘画,他的精神追求倾向于质朴与本真,是一种仰望天空的高远与空灵,是接近人与自然高度融合的真性情,他为了躲避现代都市的喧嚣与躁动,寻找属于自己的心灵世界,保持艺术家自由独立的思考与不受污染的创作激情。多年来,他养成了旅行的习惯,随时快速的远离,到最偏僻的地方,到大自然最深处,全身心的去体验,用画笔去接近那广阔无垠的美丽。他的题材多是画少数民族和偏远的农民,而他从不把自己看成是画农民的画家。

他总是以最新鲜的现代人的眼光,去不断地表现那片纯净蓝色的天空、苍茫的旷野与热烈的晚霞,人在空气中阳光下最自然地活动与劳作,最自在的动态与神情。他以激情四溢的强色彩和毫无遮拦的大笔触,反复表现那些生活在最简单、最纯粹、最质朴、最本真也是最幸福的人们。为此发出了他特有的带着羡慕的深沉有力的赞美。看他的画有一种内心独享式的快乐与饱足,一种远离物质利欲打扰的自在生活,那些形形色色发自内心深处笑着的人物表情在感染着人,这是在寂寞土壤中生长出的一种神奇的艺术。在那些天然的人性与自然的天性相依而存之地,成为谢东明不断地找寻与激发创作灵感的源头。此时让我想起希伯来古训:“得力在乎平静安稳,得救在乎归回安息。”谢东明的绘画手法是在写实范围中强调书写性和表现性,他画画从来都是站着,拿着大笔在大画布前饱蘸颜料浑身反复舞动,粗放的笔痕朝着四面挥洒,形体在疾速狂放的笔触覆盖中变得有力和厚重。他的造型能力很强,以大笔饱和而纯艳的色彩、过瘾的涂抹、似农人用大镐刨大地般的够劲。一组组出其不意自由奔走笔触的偶然,和型体特征塑造的必然存在相合,并置的表现,塑形与破形同构,达到了双重的丰富,有型体表现的力度却不死板,意韵强化的鲜明却不松散,在结实的造型上保存着自由奔放的笔痕,使之超越了形和象的物之所指,而突显了神和韵的意之表现。形式的强烈与内涵的有力结合,释放出谢东明独特的个性张扬。

English Introduction

 Xie Dong-ming (1956-) from Beijing. Associate professor. He graduated from the Oil Painting Department of Beijing Central Academy of Fine Arts in 1984. He has a bachelor's degree and is currently a professor in the Department of Oil Painting. He is currently a professor of the Central Academy of Fine Arts, a supervisor of doctoral students, a member of the Academic Committee of the Academy, a vice-director of the Oil Painting Committee of the Chinese Artists Association, a member of the Board of Directors of the Chinese Oil Painting Society and a researcher of the Oil Painting Acade

 

In 1986, she began to create a series of works of Tibetan Women, which were exhibited in Beijing Contemporary Oil Painting Exhibition and the First Oil Painting Exhibition of International Art Court.

 

Ten works, such as "Starting Point" and "A Dream of the Grassland", were published in the fourth issue of Jiangsu Painting Magazine in the same year. In 1989, he began to create "Barrel" series works, which were exhibited in 1990 in Beijing as "Teachers'Works Exhibition of Oil Painting Department of Central Academy of Fine Arts". "Xie Dongming Oil Painting Exhibition" was held in Hong Kong in 1991. In 1992, he began to create a series of works of "The Catcher". Seven works, including "Xie Dongming's Bucket" (Dai Shiwen), "Retrospective Thinking" (Xie Dongming's text) and "Still Life - Bucket", were published in the fourth issue of "Art Research" in the same year. In 1994, the Catcher series was exhibited at the April Painting Exhibition in Beijing. He began to create a series of works of "Weeping", which was exhibited in Beijing "Lin Yan, Xie Dongming's recent works exhibition" in the same year. In 1995, a series of works, Watcher and Weep, were exhibited at the "Renaissance of Realism - Xie Dongming, Works Exhibition" organized by the Asian Art Coordination Council of the United States. In the same year, Xie Dongming, a series of Chinese modern art evaluation books, was published by Guangxi Fine Arts Publishing House. In 1996, he created a series of works of "Country Life", which was first exhibited in "Repetition, Beginning 96 Oil Painting Exhibition" in Beijing, and "The First Chinese Oil Painting Society Exhibition" in Beijing. 1997 Centennial Exhibition of Chinese Oil Painting Portrait Art, Beijing, 47th Venice Biennale, Italy. Asian Art Exhibition Bangladesh. 1999 "The Gate of the Century" 1979-1999 Chinese Art Invitation Exhibition. Chengdu, 2000 "20th Century Chinese Oil Painting Exhibition" Beijing, "My Century, My Compatriots" Paper Works Tour Exhibition.

Xie Dongming's artistic essence is to yearn for a healthy painting with strong sunshine. His spiritual pursuit tends to be simple and true. He looks up to the sky and the sky, and is close to the true feelings of the high integration of man and nature. In order to avoid the noise and agitation of modern cities, he searches for his own spiritual world and keeps the artists free and independent thinking and pollution-free. Creative passion. Over the years, he has developed the habit of traveling, at any time quickly away, to the most remote places, to the deepest part of nature, to experience wholeheartedly, with a brush to approach the vast beauty. His subjects are mostly paintings of ethnic minorities and remote peasants, and he never regards himself as a painter of peasants.

 

He always shows the pure blue sky, the vast wilderness and the warm sunset with the most fresh modern eyes. People move and work most naturally in the sunshine of the air, and their most comfortable dynamic and expression. He repeatedly shows those who live in the simplest, the purest, the most simple, the most authentic and the happiest people with strong passionate colors and unseen strokes. To this end, he issued his unique deep and powerful praise with envy. Looking at his paintings, there is a kind of inner enjoyable happiness and satiety, a kind of free life away from the disturbance of material desires. The expressions of those people who laugh from the bottom of their hearts are infecting people, which is a magical art growing in the lonely soil. In those places where natural human nature and natural nature depend on each other, Xie Dongming constantly searches for and stimulates creative inspiration. It reminds me of the ancient Hebrew motto: "Strength depends on calm and stability, salvation on resting in peace." Xie Dongming's painting technique is to emphasize writing and expressiveness in the realistic scope. He always stands, with a large brush dipped in the paint before the canvas and dancing repeatedly, the extensive brush marks are sprinkled on all sides, and his body becomes strong and thick in the rapid and wild brush coverage. His modelling ability is very strong, with a large amount of saturated and pure color, addictive smear, like a farmer with a pickaxe to shave the earth as strong. A group of unexpectedly free running brush strokes coincide with the inevitable existence of shape characterization, juxtaposition of the performance, shape and broken isomorphism, to achieve a dual rich, physical expression of strength but not rigid, strong but not loose, in a solid shape to preserve free and unrestrained brush marks, so that it transcends the shape and image of the object, and highlighted. The expression of spirit and rhyme. The strong combination of form and connotation releases Xie Dongming's unique personality.

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