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万昊 1915年


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简介
又名隆惠,字秋寒,号缶日子,1912年3月14日出生于江西省都昌县苏山乡万家畈村。中国美术家协会会员,中国美术家协会江西省分会副主席、顾问,江西油画学会首届会长。1939年国立艺专第二届毕业生。1942年任桂林美专西洋画教授,并先后历任苏州美专、江西省立陶专、南昌大学、华中师范学院、武汉艺术师范学院、湖北艺术学院、江西文化艺术学院、景德镇陶瓷学院美术系教授。作品有《井冈山之晨》、《日寇的末日》、《抛刀》、《姑苏水乡》、《静物》、《三峡风光》等。台湾《典藏》杂志评论称:“万昊的作品始终给人以一份朦胧感,彷佛在画面上永远存著一层散不去的神秘。”。美术界评论认为万昊的油画作品是东方格调的印象派。1987年退休。万昊先生曾是省第三、四、五届政协委员。

年表
1915生于江西南昌;
1927年入武昌美专附中;
1935年毕业于苏州美专高中艺术科;
1939年毕业于当时迁校昆明的国立艺专绘画组;
1941年参加广西全省美展,任桂林美专西洋画教授、广西艺馆研究员、初阳美术学院教授;1944年任柳州南华艺专校长;
1947年任苏州美专教授;
1948年创办白鹿艺术学校,并在江西省立陶专任教;
1949年陶专改制,任艺术系主任、教授;
1952年任南昌大学教授;
1953年任华中师范学院、湖北美术学院教授;
1960年任教于江西文化艺术学院;
1968年在文革中因反动学术权威被关;
1971年获得解放;
1980-1995年任江西陶瓷学院教授;
1995年于台北举办个展。

出版
《万昊作品集》台北敦煌艺术股份有限公司

 

Wan Hao

Art Chronology

 

Arranged by Yan Chih Chiang

 

Wan Hao, also known as Lung Hui and his other names are: Chiu Han and Guen Re Tze. He was born in March 1912 in Du Chan, Jiangxi. A member of the Chinese Artist Association, he was the Vice Chairman, Consultant of Jiangxi Provincial Branch of the Chinese Artist Association. He was the first Jiangxi Oil Painting Academy, and was member of the Third, Fourth and Fifth Political Council. Graduated from the National Art College in 1939 and became a professor at Guilin Art College in 1942. Over the years, he was professor at Suzhou Art College, Jiangxi Provincial Pottery College, Nanchang University, Hua Zhong Normal Academy, Wu Han Art Normal Academy, Hubei Art Academy, Jiangxi Cultural and Art Academy and Jin Teh Zheng Pottery and China Academy. He retired in 1987 and his representative works include “The Ending Days of the Japanese Thieves”, “The Sceneries of the Three Gorges”, “The Villages of Suzhou, Jiangsu” and “Woman’s Body”.

 

1912  He was born in the Wan Family Village of Fen Shan in Du Chan County, Jiangxi Province, looking across the ancient homes of Tao Yuan Ming in Fen Shan. Du Chan is a typical water town in south of Jiangsu with two-thirds of areas of Po Yang Lake, the breeding place of Wan Hao’s childhood. His great great grandfather, Wan Chan Fu was owner of one of the big potters during the Tao Guan years of the Chin Dynasty. People call them the “Three Great Buddha’s” referring to the family wealth in the region. Great grandfather was a “Chin Hsi” through an official examination and taught at the Lu Shan Bai Lu Dong Academy. His grandfather was a china merchant.

 

1925  Studying in the private school at the Su Shan Chao Yang Temple, he began to recite poetry and paint pictures under the guidance of his father Wan Lai Ming. When he was seven, he was able to write poems of five characters and use brush pen to copy calligraphy. By age 10, he knew rhymes and when he was 13, his talents in poetry bloomed, writing such famous poems: “The streams and bridge surrounds my home, at the end of autumn counting flowers in the sand, maple leaves blown by the wind, and searching for poetry not aware that the sun is setting.” His father saw the child

insisting on making a living through painting and agreed, but encouraged him saying: “When you have time paint something for sale, without dealing with crime money in the world.”

 

1927  Entered the High School of Wu Chan Art Academy and learned water color, sketches, while the family lived in Wu Han. Father was the First Year graduate of Pao Ding Military Officers School and worked as staff officer for the Seventh Army of the Northern Combat Troops. He was actively involved in the 1911 Double Tenth Revolution, following Huang Hsin in key battles. He served under Lee Chung Ren as a commander and was a patriotic general.

 

1935  He graduated from the High School’s Department of Art of Suzhou Art College. His school mates included Zhen Chi Hua, Yang Tsu Su, Fei Yi Fu, and Dong Yu Wan, etc. and his performance was the most outstanding. Sun Wan Lin praised his work as the “Exact Copy” of the originals. Yan Wan Liang also said in front of the whole school: “Beside you is a good learning model, his future is unlimited, and his name is Wan Hao”.

 

1939  On January 26, his oil paintings “The Ending Days of the Royal (Japanese) Army”, “No Home to Return”, and “After the Rape Killing” participated in the Painting Exhibition for Fighting the Enemy and received strong actions. “Quizhou Morning Paper reported: “… first seen is “The Ending Days of the Royal (Japanese) Army” which is a wide and long oil painting on canvas, showing a group of farmers with axes and farm tools high over their head, the so called royal army was on the ground long ago. This makes our decision very firm to fight against the Japanese. And “No Home to Return” shows us who is the enemy clearly. In order to live and work, we must drive the enemy out of our national borders. To fight is our only way out. Turn around, we see our naked follow countrywomen whom were raped and violated by the enemies. Seeing “After the Rape Killing” one couldn’t believe that the Japanese are human beings anymore.

 

1940  Working together with Chien Jai Chun, Fan Jin Shian, Jin Yu Chang, Yang Tzu Su, a short cartoon movie was produced “The Happy Farmer” by Li Chih Company of Chongqing. “The Happy Farmer” was a story describing the occupation of the rich land by the Japanese. While the men were in the front fighting, the grandfather, daughter and grandchildren all used very skillful methods to defeat the Japanese. When the movie was shown it was during a tough period time, so it attracted a great audience. Praises came from Shanghai and even south China and was very useful in promoting patriotic activities. The painters tried to follow up with two other films but stopped due to problems of equipment.

 

He married Sha Yeh from Shao Hsin, Zhejiang, who he met and fell in love when studying at National Art College. The oldest son Wan Shen Pao was born in Yu Hsi, Yunnan.

 

1941  He was employed by Guilin Art College as professor for western painting senior class and researcher of Guangxi Provincial Art Museum.

 

On September 9, Guangxi Provincial Art Museum held the opening of “The Guangxi Provincial Art Works Exhibition” at the Sung Pao High School. The Exhibition was displayed in 9 rooms and over 10,000 people showed up to view. The oil painting exhibited by Wan Hao included “Portrait of Sister” and “Smoked Dried Bean Curd”.  

 

On March 28, the art community of Guilin for fundraising for a foundation of art workers held a special art exhibition, showing over 200 pieces of works of Chinese painting, oil painting, calligraphy, and wood carvings by Hsu Bei Hong, Guan Shan Yuh, Yang Tai Yang, Wan Hao, Lin Su Yuan, and Lee Hua.. Others like Yeh Chien Tze, and Zhang An Chih also provided works to sponsor.

 

On October 18, Wan Hao, Yang Tai Yang, Zhen Chung Gang, Zhang Zhai Ming, Chong Hui Ru, Zhang Lan Fen, Lin Hun Zhi and Huang Chao. The eleven painters showed their oil paintings at the Guangxi Bailumen Mansion. Good commentaries came in large volume for Wan Hao’s oil paintings, “Yam”, “Worrier in White”, “Spring Farming”, “Seed Sowing” and “Stills”.

 

On August 22, Wan Hao, along with Lung Yu Lu, Guan Shan Yu, Yang Tai Yang and Lee Sao Hsih started to plan to open Guilin Art College and the school will have three departments: Art Education, Western Painting, Chinese Painting. The school will recruit over 100 students and Wan Hao will be a professor and Director of Teaching, according to Da Gong Newspaper.

 

1942  On January 1, Wan Hao, Yang Tai Yang, Zhen Chung Gang, Zhang Zhai Ming, Chong Hui Ru, Zhang Lan Fen, Lin Hun Zhi and Huang Chao. The eleven painters again showed their oil paintings at the Leh Chun Company. The show was for three days and Liu Yu Tse, Mou Dun, Ou Yang Yu Chin, Lee Chi Sen, Lee Ren Ren, and Tien Han all visited and left commentaries for the exhibition.

 

On January 2, went to Mei Li Sichuan Restaurant to attend the New Year meeting of the Guilin art community, Yin Sao Shih, Shen Tun Hun, Zhen Hai Yin were there among over 30 people. Those present used self-portrait instead of signing in. At the meeting, Wan Hao spoke about the building of an art work room.

 

Wan Hao often paint scenery live in remote areas. Upon returning once, his first son Wan Shen Pao had a vicious disease. During a time lacking medication, the child unfortunately died at the age of two only.

 

1943  Lee Chih Shen, at the time was KMT’s Military Committee member, had invited many famous painters to draw his portraits. However, the one hanging in his house was painted by Wan Hao. He told Wan Hao that the one he painted had the “feeling” and he loved it.

 

He supported good friend Yang Tai Yang in starting “Tsu Yang Art Academy” and worked as the professor for western painting.

 

1944  January 3 attended the Exhibition of Teachers and Students of “Tsu Yang Art Academy” and “Calligraphy and Paintings of Accomplished Artists”. Lee Chi Shen, Liu Ya Tse, Tien Han and Lin Hu also donated their calligraphy and paintings for sale as fund raising for Tsu Yang Art Academy”. The works of Wan Hao, Yang Tai Yang and students received warm receptions. Progressive cultural people wrote favorable commentaries.

 

In June, second son Wan Li Fen was born, the name was after the Li River in Guilin for the beautiful scenery.

 

Li Chi Shen and Liu Ya Tse, along with others established “Guilin Cultural Community Anti-Japanese Association. On the 16, the Guilin Cultural Community expanded their movement to promote “Art Day”. In order to expose the Japanese criminal activities, Wan Hao created over 40 paintings for propaganda. Among these, “Throwing the Knife” and “Borrowing for One Night” were strongly received during the art against the Japanese parade. After the fall of Guilin, on August 5, Da Kung

 

Newspaper published “Drifting Art Workers” by Ming Chih, a report about the situations of art workers in Guilin. Wan Hao and family, under the arrangement of his student Yang Chin, escaped to Loh Ya Village in Liu Zhen County. All oil paintings of human bodies, stills and sceneries over 100 pieces were all lost during the escape.

 

1945  Nan Hua Art College was founded in Liu Zhou, and Wan Hao was President. Wang Tsan Bin, Commander of Northern Guilin Division, was Board Director and Lin Hun Chih was Director of Teaching. Professors included Yang Chiu and Yang Tai Yang.

 

1947  Victory of the Anti-Japanese way, the Art College was restored in Suzhou. But, teachers were tightly lacking and many things need to be done. At the invitation of dear teacher Yan Wan Liang, Wan Hao resigned the presidency of Nan Hua Art College to become Professor of Western Painting at the Suzhou Art College, taking over the Oil Painting Class of Huang Chieu Shih. The school publication “Art Waves” published “Graduation Memorial of 1946 – 47” in which Wan Hao’s experience was introduced with large illustrations. During the teaching period, his paintings were done live in Suzhou, and he liked to paint the water towns, lanes and alleys, morning and setting sun.

 

1948  Started to build Bai Lu Dong Painting Academy in Lu Shan, Jiangxi and ready to recruit and teach students and answering lifelong wishes. However, due to situations, it did not work out.

 

Later, he taught at the Provincial Pottery College. Aside from teaching, he did live paintings in the fields and painted portraits for the village’s elders. Oldest daughter Wan Han Fen was born.

 

1949  April 29, the 49th Division of the 17th of People’s Liberation Army of the 2nd Battle Forces marched and entered Jin Teh Town which was liberated. Some people were panicked and wanted to escape. Wan Hao was very calm: “Why should I run? We are all Chinese”  Jin Teh Town Pottery and China College went under reformation. He was the Vice Director of School Reform Committee and Professor/Director of Department of Art. He was assigned to perform propaganda missions and painted comics and sketches over 300 pieces.

 

1950   Using oil painting techniques, created the series of china prints of Marx, Engels, Lenin, Stalin and Mao.

 

On July 12, Master of Chinese painting Pan Tien Shou, in a long calligraphic letter of over 600 characters to Wan Hao, discussed the issues of teachers for china arts. He also highly praised Mr. Wan Hao’s poems, acknowledged that his merits were many. Mr. Hsu Lung Shen also wrote and pointed out that after Chin Dynastic few can write poetry in rhymes and for a painter, it is even rarer. Wan Hao can paint and write poetry with learning from both East and West, life itself alone is sufficient. Second daughter Wan Tih Fen was born.

 

1952  Jin Teh Town Pottery College was combined into Nan Chan University. Wan Hao was professor of Department of Art.

 

During the land reformation period, accepted mission to paint propaganda, he painted over 500 pieces at a daily speed of more than 10 paintings with overtime.

 

In October, schools and departments were all re-adjusted, Wan Hao, along with Zheng Chan Chong, Sun Shih Jin, Yang Yan Tzu, etc. were considered the best professors to be transferred to Hua Zhong Senior Normal School as a result of merging of Hubei Education College and Hua Zhong University. The Provincial Governor Shao Shih Ping hosted a farewell dinner at the Jiangxi Hotel (now August 1 Uprising Memorial) and everyone was touched upon his leaving. In Wu Han, Wan Hao got up early each morning and worked on large volumes in teaching models of stills, sceneries and portraits.

 

1953  Third son Wan Hsiao Lan was born.

 

1956  Famous Soviet painter A. Mylnikov and others came to Wu Han to host an oil painting class. During this time, Wan Hao and Yang Li Guang accompanied them to pain live at Lu Shan and Yellow Mountain. Wan Hao’s speed oil painting of Lu Shan made the Russians open their eyes. They were impressed at Wan Hao’s aristocratic quality, graceful tunes and skillful treatment of light and color. They admired and instead of looking down in the past. Eventually, that piece of work was requested to be brought back to keep and study.

 

Oil painting “The Forest” participated in the First Hubei Art Exhibition.

 

1957

 

August, Wan Hao returned to Nan Chang and re-united with old colleague and good friend Yu Shai and family, while painted an oil painting portrait for Mrs. Yu.

 

Fourth son Wan Hsiao Han was born.

 

1958  In October, Wu Han Art Normal College and Zhong Nan Music College were combined into Hubei Art College. The Department of Art recruited 5-year specialized studies. Wan Hao, Yang Li Guang, Liu Yi Wan were employed as oil painting dedicated professors and they were forceful in leading the students early in the morning to late at night to paint live around the school. The students love them. The works included “Morning in Spring”, “East Lake” and “Yangtze River Bridge”.

 

1960  Because of long-term unaccustomed to the local water and land, Wan Hao hopes to work in his hometown. So, he wrote to Lei Cheng, then Deputy President of Jiangxi Cultural Art College. However, because of keeping talents, Wu Han authority refused to let go. Afterward, working behind the scenes by Jiangxi authority, he was transferred to work as Art Professor at Jiangxi Cultural Art College.

 

Wan Hao along with good friends Guan Shan Yue and Yu Sai and others travelled to Rei Jin, Hsin Guo and Jin Gang Shan to paint live and created a good volume of excellent works. Wan Hao has the habit of practicing Taichi and when doing Taichi and viewing his work “Jin Gang Shan”, he said to his son Wan Li Feng that his oil painting “Jin Gang Shan” has “fresh air”.

 

1961

 

November 19, he went with Lei Zheng, Wang Shui Tien and Peng Zhong Zhi to paint live at Gui Feng. After returning to Nan Chong, Live Painting at Gui Feng was held with teachers and students. On November 29, the work “Looking at Lover Summit” was carried in the Jiangxi Daily News.

 

A representative oil painting “Self Portrait” was finished which during the Cultural Revolution was lost as it was considered to be “poisonous grass of Capitalism”. According to recollection of Hsieh Tien Shih in the recorded interview on June 9, 2008 by Yan Chih Chian: “That painting was very exciting, no less than Western Europe’s Classicalism Master Ingres’ standards. Besides, he was quite unique in the treatment of impressionism, the touch of brushes and the feelings of water..” In the history of our nation’s oil painting, to deliver paintings in such a level was quite difficult. At least I have not seen anything as good as this painting since my graduation from Suzhou Art College. Wan Hao’s sketches are wonderful and so as his accuracy of formation of characters.

 

 

1962  In April, Provincial Governor Shao Shih Ping invited Wan Hao to paint Mu Dan flowers during the season. Upon return, he created oil painting “Mu Dan” and he also wrote a poem in calligraphy and gave it to the governor as a gift. The poem said: “The flowers are smiling and clearly standing. Ashamed that I do not have the talent to paint and I may be wrong in depicting the beauty. The flowers reflect through the windows, when all is gone the spring light lingers, along with west winds blow.”

 

1964  Elected to be Member of Jiangxi Provincial the Third Political Consuls 

 

“Exhibition of Art Works of Wan Hao and Lei Chen” was held at the Jiangxi Provincial Art School, showing over 40 pieces of Wan Hao’s oil painting of sceneries and Lei Chen’s water and brush paintings of drama characters. Hsieh Tien Shi wrote in the school publication “The Seedling Garden”, and analyzed in depth about Wan Hao’s oil painting skills, giving high praises.

 

1965  Wu Guan Zhong came to Nan Chan, accompanied by Yu Sai to visit senior school mate Wan Hao who was 7 years older and they were two school years apart.

 

1968  September 1, during the Cultural Revolution, Wan Hao, because of his having human body painted live in teaching art, was accused the crime of being a “Reactive Academic Authority”, and had to be jailed in the first team of provincial committee members in a newly built county farm for reformation. “About 50 – 60 people crowded in a large room. The deputy provincial governors, people in the provincial literary and art community, senior knowledge elements, all older people beyond age 60, climbing up and down over the double decks beds, it was painful. The jailers saw Mr. Wan Hao as an honest old man and so they made him section chief of training.” During the Cultural Revolution, several hundreds oil paintings and sketches were all searched and collected, as well as millions of words of instruction materials all burned and thrown away.

 

1971  In July, Wan Hao was released from the training camp. He stayed home for a long time due to bad moods. Sometimes Wan Hao met his students on the road, he just laughed and said, “I was in this struggle because of who was above” and “I was released also because of who was above, I don’t blame you people.” The student was moved to tears and told people how generous Professor Wan was.

 

1975  Writing poetry to relieve his mind: “I was crazy between the sky and earth, the wind blows my old shirts. Do not ignore painting my flowers even though no one was asking anymore.”

 

He created a self-portrait “What Are You Painting?” In the picture, the color board has no paint on it, meaning black and white were reversed, and there is nothing to paint. This was the only oil painting Wan Hao painted since the Cultural Revolution to now.

 

1978  Mrs. Shao Shih Ping, under the accompaniment of Wu Chih, brought gifts to Jin Teh Town, requested Wan Hao to paint another Mu Dan Flower which her husband loved when he was alive (died in March 1965). But at this time, destroyed by the Cultural Revolution, all the ideas of Wan Hao died too and was no longer interested in painting. So, he nicely turned down the request. 

 

He was elected the Fourth Jiangxi Provincial Political Consul Member. He painted the south station hall for the railway Nan Chong Station the giant oil painting “I am not worried when you are doing things.”

 

1980  June 6, the Jiangxi Branch of Chinese Art Association called for the Third Members Meeting and Wan Hao was elected as the Vice Chairman.

 

July The Jiangxi Oil Painting Association was established. Wan Hao was elected as

 

The First President; Ma Hong Tao, Shih Shao Zhen and Hu Jin Shiu were vice presidents.

 

He worked as professor at the Jiangxi Pottery and China College.

 

1983  He was elected the Fifth Jiangxi Provincial Political Consul Member.

 

In January, he continuously created a number of larger oil painting sceneries 75cm x 55cm, including “Pan Lake Warm Spring” and “Sceneries of the Three Gorges”

 

January 17, for three days the Jiangxi Branch of Chinese Art Association called for the Second Sub-meeting of Third Members Meeting and Vice Chairman Wan Hao was present.

 

1984  January 11, the Provincial Art Work Conference was called in Nan Chang and the meeting was for 3 days. Vice Chairman Wan Hao was present. During the meeting, Deputy Chief of Cultural Department Lee Chien suggested that “Jiangxi Pictorial” to do a special report for Wan Hao on the topic of oil painting. Wan Hao expressed that more promotion opportunities should be given to younger painters.

 

In participating the second meetings of the Fifth Jiangxi Provincial Political Consul, the poisonous leftover of the Cultural Revolution was gone forever. Reformation and opening were blooming bright. The old man’s mood was stirred up in the poetic form:  “A prosperous meeting with joy overflowing, and the emotions and feeling unlimited in the western mountains. The farms are prosperous and the business cities growing. Everyone praise that the Party is brilliant.” And “The year is like water flowing and never returns, the painter is getting old and is ashamed for doing nothing. Tomorrow the eastern wind will be borrowed and river and mountain all in the picture.”

 

1986  On February 24, the Annual Meetings of the Jiangxi Oil Painting Academic Association were held at the conference room of the Provincial Art Association. The leaders were re-elected and Wan Hao was now consultant to the Association.

 

On July 7 – 10, the Jiangxi Branch of Chinese Art Association called the Fourth Members Representative Meeting. Wan Hao, Hu Hsien Ya, Peng Yiao Shan, Liang Bon Tsu, and Hua Yuan Ming were all employed as consultants.

 

1987  After retirement from Jin Teh Town Pottery and China Academy, he focused on poetry and writing untiringly. His work included human bodies, the Three Gorges, water villages, stills, as well as Pan Lake and over 200 sceneries oil paintings.

 

1995  Over 100 pieces of oil painting works were bought in two occasions and collected by Mr. Hsu Lung Shen of Shanghai Dong Hai Tang Gallery.

 

1996  January 1, “Collection of Wan Hao Oil Paintings” was published by Dun Huang Art Company.

 

January 26 to February 17, “Wan Hao Painting Exhibition - China’s Second Generation Advanced Painters” will be held at Dun Huang Art Center, Taipei In an article appeared in Taiwan’s magazine “The Classics” titled “Wan Hao Hidden in the Paintings”, it is said “The sceneries of Wan Hao often in the spreading colors express fully with the small brush pen touches reflected in air and uncatchable feelings of water in flickers, especially in the scenery works of the Gorges. The methodology works well.” “Wan Hao has three habits: painting, poetry and tea.”

 

April 28, Oil painting “The Small Road under the Moon” (32cm x 40.5cm); “Water Village Zhou Chuang” (38cm x 45.1cm); “Grapes” (38cm x 45cm) participated the spring art works auction of Hong Kong Christie’s and sold respectively at RMB26,818, RMB29,256 and RMB34,132, approximately 25,000/sq.m with commission. Another painting “Apples” (38cm x 45cm) was sold at RMB20,700 in Hong Kong Christie’s at a time not known exactly.

 

On July 12, Hsu Lung Shen in a letter to an old painter in Hubei province, “Wan Hao is a very talented artist but the conditions are not ideal during old age which is a pity.” Mr. Hsu also told several teachers of Hubei Art College about Wan Hao’s neo-impressionism works, “You can say that there is none that surpass Mr. Wan’s level nowadays. The way he uses color in his oil paintings makes me worship them. It’s just too great!”

 

1997  In the magazine “Research on Art” the First Issue carried Mr. Hsu Lung Shen’s article: “Liberation from the Destruction of Illusions – The Second Change of Wan Hao’s View on Life”. The article pointed out: “In the oil painting works of Wan Hao’s old age, aside from the above basic characteristics, they collectively expressed the infiltration of poetry and state of mind. Viewing Wan Hao’s paintings is like singing Na Lane Hsin Teh’s poetry – quiet yet far away but not losing the feeling of purity. East time you read, there is a deeper layer of understanding. Each you take off a layer of mystics, you see an element of easiness of life, an expanded emptiness of mystics reaching your limbs and bones. Such feelings are not there to experience in the western oil paintings. This is exactly where Wan Hao differs from French Impressionism masters who seek light.”

 

1998  Regardless of old age and weak health, by returning to visit hometown Du Chong, he felt happy for the prosperity and growth there. After retirement, he had many times requested to settle down in the Wan Family Village. The beautiful hometown in his dreams was the ideal place for his rest. “The oil paintings and poetry of Wan Hao is like his body, soul that could not be separated from the fields of his hometown,

 

linking with his ideas of beauty and artistic style.”

 

Wan Hao’s oil painting “Deep Autumn” (32cm x 41cm) in Zhen Chan Auction in Taiwan was sold at RMB138,000, about RMB129,000/sq m. (Based on Guardian Auctions Online Records – a global transaction data of Chinese Art, dates not known for sure)

 

2001  As an article carried in the Second Issue of “Grand View of Literature and History” by Mr. Wan Shen Hsin, “Wan Hao and the Neo-Impression Oil Paintings He Created”, it indicated that Professor Wan Hao does research on nature, focused the total effect of the natural lighting, colors and forms. With stress on the work from the people, its reality, construction, integrity and also stress on quality, space and air flows, not twisting or deform the true spirit of purity. It is with an even heart and mind and basic tunes of cold and warm colors to express truth, goodness and beauty of the items so that the picture shows flickering effects and gracious and easy Eastern

Mood.” The April “Heart Bridge” magazine carried that article.

 

When accepting Wan Shen Hsin’s interview, Wan Hao showed his self-confidence in the world: “When Van Gough was alive, he only sold one painting for only four pounds. As to my paintings, when people begin to understand, it will be outrageous!”

 

On April 7 and 9, the Jiangxi Television showed a special “Wan Hao and the Neo-Impressionism” in the program “Jiangxi, China”. The film introduced to the  audience passionately what oil painting works Professor Wan Hao established as the Neo-Impressionism. It was Professor Wan Hao who opened the brand new world with Chinese characteristics the oil paintings of Neo-Impressionism, going through the stages of inheritance to development and from development to independent beginning. “The opening creation by Professor Wan Hao is not only our country’s wealth in our painting history and also enriches the world painting history.”

 

2005  In November, the son-in-law of Wan Hao, Mr. Zhen Kuo Tao wrote the book “Seeking the Pearl in the Vast Sea” which was published by Chinese Authors Press. In

the book was a section on “People and Communications” – “Painter of Neo-Impressionism, A Profile of Professor Wan Hao of Jin Teh Town Pottery and China College”. It was a more detailed introduction of Wan Hao’s art and life.

 

December 6, Oil painting “Scenery of Pan Lake” (32cm x 42cm) participated in the Poly Auction Autumn large scale auction and sold for RMB33,000 or about RMB30,000/sq m with commission charges.

 

2006  August 27, the two oil paintings by Wan Hao “The Woman’s Body” and “Orange and the Cup” were shown to collectors as “Not for Sale Items” at the 6th Jiangxi Art Pao Tsen Auction by Famous Artists and it caught the attention of the collectors’ community.

 

2007  January 13, oil painting “Leech Nut” (36 cm x 45cm) participated in the Autumn large scale art auction of Xi Lun Yin Se and was sold at RMB46,200, with commissions adding up to 35,000/sq m

 

July 2, creative oil painting “Soul of Mountain” and at 96 years old, his brush never got aged. On October 3, the Cultural Department of Jiangxi Province with Yan Chih Chiang and company went to Jin Teh Town to visit Wan Hao. They want to save and discover more of Wan Hao’s oil paintings, carrying out protective investigations and research; “Gu Nan Cold Autumn Poetry Collection” was finished in arrangement with Wan Hao’s poetry works nearly 200 pieces.

 

2008  April 12 Yan Mo visited Jin Teh Town for the second time, using filming and recording to put down the data of Wan Hao’s art. On May 10 famous old painter Duan Ni talking to Yan Chih Chiang excitingly about Wan Hao: “Master Wan, he was so wonderful. In the Chinese world of art, he’s the best. When I was studying at Hupei

 

Art Academy all the schoolmates adored him. His art was unique, comparing side by side with those academically mainstream from Wu Chong Art College who studied in France, winning high reputations. Master Wan should not have return to Jiangxi. He was too high up and buried his talents, what a pity!”

 

June 9, famous painter Mr. Zhen Sung Mou said upon the interview by Yan Chih Chiang, “Before the Cultural Revolution, I visited Wan Hao at his home and saw some of his paintings. I felt that when he researched impressionism, he was after the spirit, not just superficial forms. His treatment of the images of objects and handling of light and colors was much higher in spirit, much simpler and enduring than the traditional impressionism. He was often after a state of mind of ambiguity and fuzziness. This special style was very influential at the time and many painters unconsciously imitated him, including famous painter Prof. Yu Se. Regrettably, at the time the nation was under the fashionable tide of Su style oil painting, I was not too interested in contacting Wan Hao, therefore missing the precious opportunity of learning from him. Nowadays, great painters like him are hard to find and arranging and classifying his works have important meanings in studying oil painting education.”


 


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