| Zhang Xiaogang was born on 1958 in
| |
| | sensibility that in many ways define this
|
| Kunming, Yunnan province,CHINA. Zhang
| |
| | era. Because Zhang's footing is within the
|
| Xiaogang's paintings engage with the
| |
| | academy system, therefore the system may
|
| notion of identity within the Chinese
| |
| | also claim credit for his success.
|
| culture of collectivism. Basing his work
| |
| | Zhang has achieved this by bringing
|
| around the concept of 'family' -immediate,
| |
| | together a number of polarities. Zhang
|
| extended, and societal - Zhang's portraits
| |
| | uses a technique based on western academic
|
| depict an endless genealogy of imagined
| |
| | realism to suggest unreality and illusion;
|
| forebears and progenitors, each
| |
| | he portrays a private insular world by
|
| unnervingly similar and distinguished by
| |
| | means of a public artistic language,
|
| minute difference. Often painted in black
| |
| | hinting at unspoken public trauma through
|
| and white, Zhang's portraits translate the
| |
| | individuals' secrets. Over twenty years,
|
| language of photography into paint.
| |
| | Zhang has managed to resolve his own
|
| Drawing from the generic quality of formal
| |
| | stylistic passage from an early
|
| photo studio poses and greyscale palette,
| |
| | expressionistic period to a form of
|
| Zhang's figures are nameless and timeless:
| |
| | classicism.This solution makes a cultural
|
| a series of individual histories
| |
| | connection with the pioneering era when
|
| represented within the strict confines of
| |
| | western painting technique was first
|
| formula.
| |
| | successfully borrowed by popular art to
|
| Zhang Xiaogang's work is usually based on
| |
| | portray the figure, when it was adapted to
|
| its iconography and style, which reveal a
| |
| | mass culture in the spirit of popular folk
|
| strong consistency whether the works are
| |
| | taste. It is therefore close to
|
| studied from the angle of artistic
| |
| | traditional Chinese taste, hence
|
| intention or personal history. If we look
| |
| | successful in making claims to be a new
|
| at the "phenomenon" of Zhang Xiaogang, and
| |
| | paradigm.
|
| consider elements of his art that have
| |
| | Selected Exhibitions:-
|
| helped to establish his position in the
| |
| | 2000
|
| art world, we can look away from Zhang's
| |
| | - Max Protetch Gallery, New York
|
| psychological and personal history, to
| |
| | 1999
|
| focus on his contributions to artistic
| |
| | - Galerie de France, Paris
|
| language in contemporary Chinese art.
| |
| | 1989
|
| Zhang Xiaogang's art has become a canon of
| |
| | - Sichuan Academy of Fine Arts,Chongqing
|
| contemporary Chinese oil painting, and its
| |
| | Conclusions:
|
| merits depend very much on the fact that
| |
| | Zhang Xiaogang's work is usually based on
|
| he has found new solutions to harnessing
| |
| | its iconography and style, which reveal a
|
| western classical academic technique (a
| |
| | strong consistency whether the works are
|
| standard in Chinese academies) to turn it
| |
| | studied from the angle of artistic
|
| into an indigenous artistic language.
| |
| | intention or personal history. He had
|
| Zhang Xiaogang is very much a product of
| |
| | focused on his contributions to artistic
|
| the Chinese art academy system, and out of
| |
| | language in contemporary Chinese art.
|
| this heritage he has developed an
| |
| | What to Do Next...
|
| iconography and identified a special
| |
| |
|
