本文選題：中國(guó)畫(huà)改造 + 現(xiàn)實(shí)主義��； 參考：《美術(shù)研究》2017年05期

【摘要】：本文結(jié)合《常熟田》誕生的情境,如錢(qián)松]R先生的學(xué)術(shù)背景、中華人民共和國(guó)成立后相關(guān)部門(mén)對(duì)文藝創(chuàng)作的具體要求、《人民美術(shù)》(后為《美術(shù)》)組織的關(guān)于中國(guó)畫(huà)改造的討論、全國(guó)美協(xié)與各地美協(xié)圍繞中國(guó)畫(huà)改造而組織的寫(xiě)生與創(chuàng)作活動(dòng),以及錢(qián)松]R先生的具體改革方案等等分析了《常熟田》在當(dāng)時(shí)取得成功,并成為新山水畫(huà)代表作的原因。
[Abstract]:Based on the situation of the birth of Changshu Field, such as Qian Song's academic background, the specific requirements of the relevant departments for literary and artistic creation after the founding of the people's Republic of China, and the discussion on the transformation of Chinese painting organized by the people's Fine Arts (later "Fine Arts"), The sketch and creative activities organized by the National Art Association and the local art associations around the transformation of Chinese painting, as well as the concrete reform plan of Mr. Qian Song] R, and so on, analyzed the reasons why Changshu Tian was successful at that time and became the representative work of the new landscape painting.
【作者單位】： 武漢合美術(shù)館;
【分類(lèi)號(hào)】：J212
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本文編號(hào)：2100452