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王永

( 中国美术家协会理事 )

 王永,男,1960年生于河南开封。现任中国美术家协会理事,广东省美术家协会专职副主席兼秘书长,广州画院艺术顾问,研究生导师。1982年毕业于河南大学美术系国画专业,1991年结业于中央美术学院中国画系。曾在高校任美术系主任、副教授。作品获第十一届全国美展获奖提名并多次参加全国各大综合展、单项展、双年展、学术邀请展等,并在北京,河南,广东、泰国等地分别举办过联展和个展。

  • 中文名王永
  • 性别
  • 国籍中国
  • 民族汉族
  • 出生地 河南开封
  • 出生日期1960年
  • 信仰 中共党员
  • 职业广东省美术家协会专职副主席
  • 协会中国美术家协会
  • 毕业院校河南大学美术系国画专业
  • 主要成就 全国美展提名奖多次参加全国各种大型展览
  • 代表作品《瑰 宝》、《三坡即景》、《秋收》等
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别开生面 别出新裁——评王永亮大别山水墨写生稿

中国美术网 09-17 浏览

在紫竹院国家画院里,我和永亮的画室都在三楼,因为在一个楼面,故见面的机会多,谈画的时候也自然多了起来。恰恰我又是个喜欢到处跑跑,对景写生的人,画了画回来,第一批观众中必有永亮兄的。永亮也肯吃苦,一...
1主要作品参展

《瑰 宝》第十一届全国美展获奖提名 (上海、北京) 2009年

《三坡即景》全国首届中国山水画展 (安徽) 1993年

《秋收》中国当代书画名家展(台北)1993年

《夕照图》东方书画艺术交流展 (英国)1997年

 《东皇雨露》全国第二届中国花鸟画展 (北京) 1999年

 《暮秋》第五届全国水彩画粉画展 (广东) 2000年

 《封开写生》纪念“讲话”六十周年全国美展 (广东) 2002年

 《轻云过岭》第三届中国美协会员中国画精品展 (广东) 2006年

 《绿荫树下》海峡情中原风中国画名家邀请展(郑州、厦门、台北)2006年

 《清浴幽泉》南方印象——2007年中国山水画展 (深圳) 2007年

 《荆棘望远》2007年全国中国画作品展 (江苏) 2007年

 《城市奏鸣曲》纪念中国改革开放30周年全国美展 (广东) 2008年

 《手中梦》第六届深圳国际水墨双年展 (深圳) 2008年

 《枫染幽谷》第四届亚洲新意美术交流展 (河南) 2008年

 《清幽》首届中国(郑州)水墨艺术双年展 (河南) 2008年

 《城市森林》都市意象——中韩水墨艺术交流展 (深圳) 2008年

 《清韵》际会中原——全国著名画家作品邀请展(河南) 2008年

 《山幽云间》文·人·化——中韩水墨艺术交流展 (韩国)2009年

 《山水》六十年辉煌——中国当代书画名家作品联展(北京)2009年

 《清风江上》庆祝新中国成立60周年全国书画名家作品邀请展(北京) 2009年

 《高云凝树》万方和谐——当代中国画名家邀请展(河南) 2009年

 《云绕桥头》艺苑掇英——2010中国山水画展(深圳) 2010年

 《深岩飞瀑》赵孟頫杯——中国画名家作品展(浙江) 2010年

 《高江急峡》翰墨家园——中国画百家邀请展(河北) 2010年

 《云绕桥头》月满侨乡2011全国中国画学术邀请展(广东) 2011年

 《湖光秋色净客船》神奇宁夏——全国书画名家邀请展(宁夏) 2011年

 《南湾晨早》魅力海南——中国画万家百景画展(海南)2011年

 《秋到山涧叶更红》明德和融——全国中国画名家邀请展(山东)2011年

 《山乡新绿》绿色和谐——第三届全国中国画作品展(河北)2012年

 《太行泉声》中原行——中国当代著名画家作品展(北京) 2012年

 《秋清泉气香》全国中国画名家作品邀请展(河南)2012年

 “烛墨有情——王永 纪光明书画作品展”(广东)2013年

文章

 平实的力量

许钦松(国美术家协会副主席、广东省美术家协会主席、广东画院院长) “王永的山水画,在平实中隐藏着一种力量。他善于运用皴笔,用缓急顿挫提按廻旋的长短线,编织并汇合为一种深沉而悠长的旋律。常敷以线绛,淡淡的色、厚厚的墨,庄重而不轻燥,在茂密之中见空灵,空旷之中见物象,俨然是天地浑厚、大朴至真的境界,是一片旷达物我的精神世界图景。”

 走进王永的笔墨世界

 罗一平(中国美术家协会理论委员会委员、广东省美术家协会副主席、广东美术馆馆长)

 王永的画,借助笔墨这一有效载体,记录历史、感悟人生,不外在、不紧张、有气势,画得轻松自然,淡雅素静。在写实的大情调下,并没有让观者走进真山真水。也许真山真水,只是他心中的一个影子,他渴望我们走进他的笔墨世界,走进他的情感世界。

 雄浑与秀美之间——观王永的山水画

 朱万章 (中国国家博物馆研究员)

 “与时下很多山水画不同的是,王永的山水画既非北派那种大气磅礴,也非南派的清秀雅致;既非传统,也非现代。看多了他的山水画,就会慢慢地感受到:在其画中,既有北方山水的雄浑、苍茫,也有南方山水的秀美、灵气;既有传统山水的笔墨技巧,也有现代绘画语言的变革。”

 读王永山水

 谢有顺(中山大学教授 博士生导师 广东省文艺批评家协会副主席)

 观王永的画,树密而不杂,几点粉黛,更掩映出幽静之美;山石嶙峋,而不突兀,青郁其上,更显另派生机;山花几簇,点染层峦,溪流其间,潺潺若奏高山流水之音;云雾相绕,轻托浮烟,恰显山峦之清秀;三俩飞鸟,越岭而过,生机一片,常有屋宇数间,嫣然若现,此种意境,如在梦中。

 其用笔从拗涩中求滑,沉而不浮,于动转处见筋,灵而不滑。“随转随注,出乎自然,而一段空灵清润之气,冷冷逼人”(石涛语)。借用北方画那种特有气势恢弘,山石嶙峋的画风,弥补江南山水画清润有余而浑厚不足的缺陷,又大胆西方绘画中点染的技法,进一步丰富整个画面。纯粹的点染不仅带进了新的艺术的感觉,加之笔墨精到,更是让我们对画家的这种大胆的创造力感到惊叹。

 从传统中来,同时超载传统,最终走向个人的创造,这是很多艺术家都在走的道路,但达到王永这般的气势者,并不多。他的作品,实的一面,很好地说出了一个画家的情思,那种丰沛的爱与执着,可从他的一笔一画的庄重中体悟出来;而虚的一面,又很好地寄托了作者的想像,把他内心对神来仙境的向往、以及朝向一种高远精神的跋涉,走在画面中崛现出来了。好的艺术,总是虚实相生、有无相生的。很多的 艺术家,只是达到了从实到实,有一些艺术家,是走玄虚的路子,现在看来,终归不如从实到虚、又从虚返到实的这种路子大气。

English Introduction

 Nominations for the 11th National Art Exhibition of "Gem" (Shanghai, Beijing) 2009

The First National Landscape Painting Exhibition of China (Anhui) 1993

"Autumn Harvest" Exhibition of Contemporary Chinese Painters and Calligraphers (Taipei) 1993

Eastern Calligraphy and Painting Art Exchange Exhibition (UK) 1997

"Donghuang Rain Dew" The 2nd China Flower and Bird Painting Exhibition (Beijing) 1999

"Twilight" Fifth National Watercolor Painting Painting Exhibition (Guangdong) 2000

National Art Exhibition (Guangdong) 2002 in Commemoration of the 60th Anniversary of "Speech"

"Light Clouds Crossing Ridges" The Third Exhibition of Chinese Paintings by Members of the China Association of American Arts (Guangdong) 2006

Invitation Exhibition of Chinese Painters of Central Plains Style in Strait Situation (Zhengzhou, Xiamen, Taipei) 2006

Southern Impression of "Clean Bath and Youquan": 2007 Chinese Landscape Painting Exhibition (Shenzhen) 2007

Thorn Telescope 2007 National Chinese Painting Exhibition (Jiangsu) 2007

"Urban Sonata" Commemorates the 30th Anniversary of China's Reform and Opening-up National Art Exhibition (Guangdong) 2008

Dream in the Hand The Sixth Shenzhen International Biennale of Ink and Wash (Shenzhen) 2008

The Fourth Asian New Art Exchange Exhibition (Henan) 2008

Qingyou, the First China (Zhengzhou) Biennale of Ink and Wash Art (Henan) 2008

Urban Image in Urban Forest: Chinese and Korean Ink Art Exchange Exhibition (Shenzhen) 2008

Central Plains of Qingyun Inter-conference: National Invitational Exhibition of Famous Artists'Works (Henan) 2008

Wen, Ren and Hua of Mountain Clouds: Chinese and Korean Ink Art Exchange Exhibition (Korea) 2009

Sixty Years of Glorious Landscape: Joint Exhibition of Works of Contemporary Chinese Painters and Calligraphers (Beijing) 2009

Qingfengjiang National Invitational Exhibition of Painting and Calligraphy Works Celebrating the 60th Anniversary of the Founding of New China (Beijing) 2009

"Gaoyun Ningshu" Wanfang Harmony: Invitation Exhibition of Contemporary Chinese Painters (Henan) 2009

"Cloud Around Bridge Head" Art Garden Luoying-2010 China Landscape Painting Exhibition (Shenzhen) 2010

Zhao Mengfu Cup of Deep Rock Falls: Exhibition of Works of Famous Chinese Painters (Zhejiang) 2010

Invitational Exhibition of Hundred Chinese Painting Scholars (Hebei) 2010

"Cloud around Bridge Head" Yueman Overseas Chinese Hometown 2011 National Invitation Exhibition of Chinese Painting (Guangdong) 2011

Wonderful Ningxia: Invitation Exhibition of National Painting and Calligraphy Artists (Ningxia) 2011

The Charm of Nanwan Morning: Hainan: An Exhibition of Hundred Views of Chinese Painting (Hainan) 2011

Mingde Harmony in "Autumn to Red Leaves on Mountains": National Invitation Exhibition of Chinese Painters (Shandong) 2011

Green Harmony in "New Green in Mountain Country": The Third National Exhibition of Chinese Painting Works (Hebei) 2012

Zhongyuan Xing in Taihang Spring Sound: Exhibition of Works of Famous Contemporary Chinese Painters (Beijing) 2012

National Invitation Exhibition of Works of Chinese Painters (Henan) 2012

"Candles and Inks Have Love - Wang Yongjiguang Painting and Calligraphy Exhibition" (Guangdong) 2013

Plain power

Xu Qinsong (Vice Chairman of National Artists Association, Chairman of Guangdong Artists Association and President of Guangdong Painting Academy)

"Wang Yong's landscape paintings hide a kind of power in plainness. He is good at using the pen, using the long and short lines of whirling to weave and merge into a deep and long melody. Often applied to the line, light color, thick ink, solemn but not light dry, in dense to see the empty, empty to see things, as if the world is rich, simple and sincere realm, is a broad-minded picture of my spiritual world.

Walking into Wang Yong's World of Pen and Ink

Luo Yiping (Member of Theoretical Committee of China Artists Association, Vice Chairman of Guangdong Artists Association and Director of Guangdong Art Museum)

Wang Yong's paintings, with the help of brush and ink as an effective carrier, record history and realize life, not external, not nervous, momentum, easy and natural, elegant and quiet. Under the realistic atmosphere, the viewers are not allowed to enter the real mountains and rivers. Maybe the real mountains and rivers are just a shadow in his heart. He longs for us to enter his pen and ink world and his emotional world.

Between Majesty and Beauty: Viewing Wang Yong's Landscape Paintings

Zhu Wanzhang (Researcher, National Museum of China)

"Unlike many contemporary landscape paintings, Wang Yong's landscape paintings are neither grand in the North nor elegant in the south; neither traditional nor modern. If you look at his landscape paintings more, you will feel slowly: in his paintings, there are not only the majesty and vastness of the northern landscapes, but also the beauty and spirituality of the southern landscapes; there are not only the brush and ink skills of traditional landscapes, but also the transformation of modern painting language."

Reading Wang Yong's Landscape

Xie Youshun (Professor, Doctoral Tutor, Sun Yat-sen University, Vice-Chairman of Guangdong Literary and Art Critics Association)

Guan Wang Yong's paintings, dense but not miscellaneous trees, a few pink dai, more reflecting the beauty of quiet; rocky, not unexpected, green and lush on it, more exotic; several clusters of mountains and flowers, dotted the mountains, streams in the meantime, gurgling sounds of high mountains and rivers; clouds and mists, light smoke, just show the beauty of mountains; three birds, flying over the mountains. However, there are always several rooms in the room, which are full of vitality. If it is present, this kind of artistic conception is like in a dream.

Its pen is slippery from the astringency, sinking but not floating, and it is flexible but not slippery when moving and turning. "Following the notes, it is out of nature, and a period of empty and moist air, cold and pressing" (Shi Taoyu). Borrowing the unique and magnificent painting style of northern paintings, which is characterized by rugged mountains and rocks, can make up for the deficiencies of Jiangnan landscape paintings, which are more than clear and thicker, and dare to use the techniques of dot dyeing in western paintings to further enrich the whole picture. Pure dotting not only brings new artistic feeling, but also exquisite brush and ink, which makes us marvel at the painter's bold creativity.

From tradition, at the same time overload tradition, and ultimately go to personal creation, which is the path many artists are taking, but there are not many people who achieve such momentum as Wang Yong. His works, on the real side, well express a painter's feelings, that kind of abundant love and perseverance, can be realized from the solemnity of his brushwork and painting; on the virtual side, the author's imagination is well placed, and his inner yearning for fairyland, as well as his journey towards a kind of lofty spirit, walks in. The picture emerges. Good art is always a mixture of reality and fiction. Many artists have only achieved the goal of "from reality to reality". Some artists have taken a mysterious road. Now it seems that they are not as good as the way from reality to reality and from emptiness to reality.

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