Art of Li Keran
Date:March 26 - July 10, 2011
Venue:Gallery N2

This exhibition attempts to offer a comprehensive review of the artist’s path and successes. Li Keran (1907–1989), Chinese painter and educator, was a native of Xuzhou, Jiangsu Province. Originally named Li Yongshun, he adopted the artistic alias of Sanqi. He began his study of traditional landscape painting with Qian Shizhi in 1920 and was admitted to the Shanghai Art School three years later. In 1929, he became a graduate student at the Hangzhou National Art College. He studied Western painting with Lin Fengmian and a French painter André Claudot and became influenced by Pan Tianshou and Lin Fengmian. In 1943, he was employed as a lecturer at the Chongqing National Art School and in 1946 as an associate professor of Chinese painting at the National Art School in Beijing. Li Keran studied with Qi Baishi and Huang Binhong and focused his learning and practice on traditional Chinese painting. His motto, “Delve into tradition with the utmost dedication and then break away from it with the utmost courage”, reflects the determination with which he was indeed able to break through the confines of traditional Chinese landscape and develop a unique individual style. After the founding of the People’s Republic of China in 1949, he held various important positions including professor at the Central Academy of Fine Arts, Vice-Chairman of the Chinese Artists’ Association, and Director of the Research Institute of Traditional Chinese Painting. Li developed his own theory for the creativity of Chinese painting and a unique methodology for its education, which can be found in his publications such as On Landscape Painting and Essays on Art by Li Keran. His influence and contributions have been universally recognized and highly esteemed in Chinese society.

Currently the research on Li Keran within and outside of China is prolific. The Li Keran Fine Arts Foundation, the Li Keran Memorial Museum, and Li Keran’s son Li Xiaoke have offered hundreds of Li’s paintings from the 1930s to the 1980s, as well as a plethora of manuscripts, photographs, and other objects for this exhibition. The exhibition is composed of the following articles:

1. The painting and calligraphic works donated by Li Keran to the Li Keran Memorial Museum and the Beijing Fine Art Academy;
2. The manuscripts, seals, letters, and studio objects from the Li Keran Fine Arts Foundation and his family’s collection;
3. Li Keran’s works from the collections of the National Art Museum of China, the Chairman Mao Zedong Memorial Hall, the Ministry of Foreign Affairs, the Palace Museum, and the Diaoyutai State Guesthouse;
4. Theoretical works published over the past and painting quotations.

These works are all displayed within about 1,000 square metres, presenting the study of about 100 works (and an additional forty manuscripts). The approach to the design of the exhibition offers an objective perspective and the exhibit’s chronological flow exposes the evolution of his artistic language. Pictures, manuscripts, paintings, films, and other works represent the greatest achievements of every phase of his artistic development. The content is divided into two categories - each category with its own subunits - presenting each object with great attention to detail.
 Main works on display:

Landscape of
Lijiang River, 1984

Yangshuo, 1972

The West Lake in Rain, 1954

Fanghe Pavilion, 1945

Drowsy at Noon, 1948

Hometown of Lu Xun
, 1962

Dresden at Dusk, 1957

calligraphy, 1988

Shaoxing, 1956
 Virtual Showroom
2011-03-26 2011-07-10 Gallery N2 “李可染艺术大展”的展览空间约一千平米,代表作拟定100组件(其它手稿文献40组)。展览设计的思想是以历史的角度客观评判,按时间线性流动梳理出艺术语言沿革的脉络趋向,除展示画家各个时期的重要代表性作品外,包括手稿、文论著作、生活照片、影视视频年资料等展览区域,力求呈现画家在各门类的杰出成就。 展览介绍 新闻快报 展览内容 精彩展品 多媒体 相关资料 出版物与纪念品 门票信息 参观信息 活动信息