16-18世纪欧洲古典大师油画精品展

16-18世纪欧洲古典大师油画精品展

16-18 Century of Old Masters Exhibition  

展览时间/地点：Time/Venue

2007年6月1日-2007年6月18日

June 1-18, 2007

上海城市规划展示馆（上海市人民大道100号）

Shanghai Urban Planning Exhibition Hall (100 Renmin Road, Shanghai)

2007年6月19日-2007年6月24日

19th -24th June 2007

三尚艺术上海空间（光复路1号四行仓库5楼）

Sanshang Art Shanghai Space (5F, Sihang Warehouse, 1 Guangfu Rd, Shanghai)

Tel: 63815757 63815768

Email: jingjie.yang@3sunart.com

世界名画由

“Beauty Asset” has been coming into the investment categories since where. The Old Masters and the Impressionist works are considered as bleu chip in the art investment. In the recent fast development of the art market in China, the famous international Old Master and impressionist works should be in the attraction on the eyes of the Chinese collectors. The “collecting” period will take place of the “exhibiting” and “appreciating by catalogue”.

由上海城市规划展示馆主办的“16-19世纪欧洲古典大师油画精品展”于6月1日率先在上海城市规划展示馆拉开序幕，此次展览大约有四十幅经典世界名画，这些作品大部分是欧洲16—17世纪的世界经典名作，以及19世纪的印象派大师的作品。如16世纪被列为世界上最杰出的景观艺术家安东尼?米罗；17世纪荷兰派最有影响力的风景画家歌岩，其画风影响了后来的浪漫派画家；17世纪法国最具影响力的肖像画家德拉佛斯，他是路易十四的宫廷画家；19世纪最出色的风景画家柯罗；印象派的大师雷诺阿等更是家喻户晓。这些作品总价值在830万欧元。

Under this circumstance, 16-19 Century of Old Masters Exhibition held by Shanghai City Planning Exhibition Centre will be opened to public in the 1st of June. There are about 40 famous European Old Masters and Impressionist’s artworks showing, including Mirou, one of the best landscape oil painter of 16th century, Goyen, the most important Holland painter of 17th century, de la Fosse, the most famous of the era of Louis 14, and Corot and Renoir. The total value of the exhibits are around 8.3 million Euros.

继上海展结束后，将马上在国内其他城市进行巡展，杭州展由《都市快报》主办、宁波展由宁波美术馆主办，并且特别鸣谢金盛人寿保险有限公司。

This exhibition will also go to Hangzhou, held by “City Express” and in Ningbo Museum of Art.

世界名画是人类文明的一笔独特财富，是对人类最为精华的视觉经验的留存，积淀着人类的精神财富。它以图像的方式记录了古老的历史，表达了真挚的情感，凝结了深刻的思想。不同民族的人民之间可能无法直接用语言进行交流，但名画却拉近了人们之间的距离。在名画背后，连接的是另一片广阔天地，是人类视觉方式变化的历史，也是社会发展最为敏感的图像史、趣味史和时尚史。因此，世界名画的价值远远超过了其有限的尺幅本身，其形式趣味、审美情操和文化产业的背后，正是一种人文精神的积淀和塑造。

The Renaissance was born in the sixteenth century through the works of Leonardo de Vinci.  The artist derived the sfumato technique through the gentle transitions of light and shadows, whereby objects lose their stiffness and reality appears softened, awakening new feelings in the viewer.  The starting point of this innovation was the positive concept of shadows.  For Leonardo de Vinci, shadow was no longer the simple absence of light.  It constituted a colored value in its entirety, having its own atmosphere that the painter had to represent and interpret.  This technique was used by all of the great artists, who allowed it to evolve with the passage of time.  

From Michelangelo to Titian, Tito, Valcken, Grimmer, these masters would get together to work.  Italian painting dominated and inspired all European painting through the 19th century.  French, Spanish and Dutch painters all spent time in Italy through the centuries.  The cities of Florence, Venice and Genova were required visits for new pictorial discoveries, as was Giverny later in the 19th century for Impressionists (Monet) or as was Provence for Expressionists and Cubists (Picasso).  These three centuries were essential to the evolution of painting.  The greatest masters crossed paths.  They worked together and collectively found new techniques.  As they were mutually inspired, they would experiment together with all of their sensibilities represented.  

From 1530 to 1600 Mannerism (the other reality) was the first direct evolution of the Renaissance.  The representations that were balanced, harmonious and idealized expressions of self-awareness of the Renaissance were no longer the case in the 17th century.  With new scientific discoveries, young artists put the emphasis on personal vision and on evocative power.  The pyramidal and circular compositions typical of the Renaissance were abandoned.  Perfect Classicism was replaced by astonishing effects and dissymmetry; compositions based on tension and density.   Painters such as Tintoret and Le Greco, and later Shooten and Valckenborgh, were magnificent representatives.  

       Flemish painting with Jerome Bosch, Van de Velde and Wranck evolved in a different manner.  It consisted of a perfect fusion of realism (delivery of the subjects) and symbolic (profound feeling of the subjects).  Baroque was also able to exist with Rubens, Bouttats, and Wouwerman representing the Dutch element, and in France with Poussin, Le Lorrain, De la Fosse, and Baudesson.  The landscapes that were represented in their paintings were idealized. In this way, the concept of nature no longer came from direct observation, but instead from a romanticized act of creation: that of trying to imagine the perfect form.  

Rococo was very naturally born from this evolution.  The representation of scenes was the refined pleasure of the senses; of intimate decorative art.  Watteau, Boucher, Fragonard, Gagneraux, Denis and De Dreux were all artists who crossed paths and worked together to represent amusement and a certain accommodating attitude.  The grace and elegance of scenes captured by these artists sought only to entertain the viewer.  The artists loved scenes that took place in the countryside, which were often combined with extremely refined arrangements.  Their works would feature striking overall effects which were more important than the characterization of people or objects.  

This exhibit will carry us back in time to these countries that are so different, but which are all similar in their artistic beauty.  The talent of all of these painters assures a permanent aesthetic voyage, and knowledge of another civilization.