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1
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1912
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Liu Haisu, Wu Shiguang und Zhang Yunguang gründen die Shanghai Academy of Chinese Painting in der konventionelle Malerei im westlichen Stil um 1920-1930 gelehrt wird.
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Document:
Sullivan, Michael. The meeting of Eastern and Western art from the sixteenth century to the present day. (London : Thames and Hudson, 1973). [Rev. and expanded ed. (Berkeley, Calif. : University of California Press, 1989)].
https://archive.org/details/bub_gb_PMFwC1gP0BkC.
[Enthält] :
Some important dates in Far Eastern history since 1500.
Japan: the first phase, c.1550-1850.
China and European art, 1600-1800.
Europe and Chinese art, 1600-1800.
Japan: from the Meiji restoration of 1869 to the present day.
The revolution in Chinese art.
Europe and America: from 1850 to the present day.
Some reflections on the East-West dialogue. S. 174.
(Sul6,
Publication)
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Person:
Wu, Shiguang
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Person:
Zhang, Yunguang
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2
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1929
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Liu Haisu reist nach Paris und trifft Fu Lei und andere chinesische Künstler. Er ist Mitbegründer der Society of Chinese Artists in France = Zhong hua liu Fa yi shu xie hui.
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Document:
The reception of Chinese art across cultures. Ed. by Michelle Ying-ling Huang. (Newcastle upon Tyne : Cambridge Scholars Publishing, 2014).
[Enthält] :
Part I: Blending Chinese and Foreign Cultures
Chapter One ................................................................................................. 2
Shades of Mokkei: Muqi-style Ink Painting in Medieval Kamakura
Aaron M. Rio
Chapter Two .............................................................................................. 23
Mistakes or Marketing? Western Responses to the Hybrid Style of Chinese Export Painting
Maria Kar-wing Mok
Chapter Three ............................................................................................ 44
"Painted Paper of Pekin": The Taste for Eighteenth-Century Chinese Papers in Britain, c. 1918 - c. 1945
Clare Taylor
Chapter Four .............................................................................................. 65
"Chinese" Paintings by Zdenek Sklenar
Lucie Olivova
Part II: Envisioning Chinese Landscape Art
Chapter Five .............................................................................................. 88
Binyon and Nash: British Modernists’ Conception of Chinese Landscape Painting
Michelle Ying-ling Huang
Chapter Six .............................................................................................. 115
In Search of Paradise Lost: Osvald Sirén’s Scholarship on Garden Art
Minna Törmä
Chapter Seven .......................................................................................... 130
The Return of the Silent Traveller
Mark Haywood
Part III: Conceptualising Chinese Art through Display
Chapter Eight ........................................................................................... 154
Aesthetics and Exclusion: Chinese Objects in Nineteenth-Century American Visual Culture
Lenore Metrick-Chen
Chapter Nine ........................................................................................... 179
Exhibitions of Chinese Painting in Europe in the Interwar Period: The Role of Liu Haisu as Artistic Ambassador
Michaela Pejcochova
Chapter Ten ............................................................................................. 200
The Right Stuff: : Chinese Art Treasures’ Landing in Early 1960s America
Noelle Giuffrida
Part IV: Positioning Contemporary
Chinese Artists in the Globe
Chapter Eleven ........................................................................................ 228
Under the Spectre of Orientalism and Nation: Translocal Crossingsand Discrepant Modernities
Diana Yeh
Chapter Twelve ....................................................................................... 255
The Reception of Xing Danwen’s Lens-based Art Across Cultures
Silvia Fok
Chapter Thirteen ...................................................................................... 278
Selling Contemporary Chinese Art in the West: A Case Studyof How Yue Minjun’s Art was Marketed in Auctions
Elizabeth Kim S. 180-181.
(Huang1,
Publication)
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Person:
Fu, Lei
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3
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1931
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Ausstellung chinesischer Maler der Jetztzeit [ID D39317].
Das chinesische Komitee bestand aus Zhu Jiahua, Cai Yuanpei, Liu Wendao, Chen Shuren, Liu Haisu, Gao Qifeng, Xu Beihong und anderen.
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Document:
Huang, Qingcheng. Zhong Xi pu tong shu mu biao. ([S.l. : Guangxu wu xu, 1898). Bibliographie von Übersetzungen aus westlichen Ländern. S. 183.
(Huan1,
Publication)
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Person:
Cai, Yuanpei
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Person:
Chen, Shuren
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Person:
Gao, Qifeng
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Person:
Liu, Wendao
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Person:
Xu, Beihong
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Person:
Zhu, Jiahua
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4
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1934
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Ausstellung mit Liu Haisu, Henri Matisse und Pablo Picasso in Paris. Vi Kyuin Wellington Koo nimmt daran teil.
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-
Document:
The reception of Chinese art across cultures. Ed. by Michelle Ying-ling Huang. (Newcastle upon Tyne : Cambridge Scholars Publishing, 2014).
[Enthält] :
Part I: Blending Chinese and Foreign Cultures
Chapter One ................................................................................................. 2
Shades of Mokkei: Muqi-style Ink Painting in Medieval Kamakura
Aaron M. Rio
Chapter Two .............................................................................................. 23
Mistakes or Marketing? Western Responses to the Hybrid Style of Chinese Export Painting
Maria Kar-wing Mok
Chapter Three ............................................................................................ 44
"Painted Paper of Pekin": The Taste for Eighteenth-Century Chinese Papers in Britain, c. 1918 - c. 1945
Clare Taylor
Chapter Four .............................................................................................. 65
"Chinese" Paintings by Zdenek Sklenar
Lucie Olivova
Part II: Envisioning Chinese Landscape Art
Chapter Five .............................................................................................. 88
Binyon and Nash: British Modernists’ Conception of Chinese Landscape Painting
Michelle Ying-ling Huang
Chapter Six .............................................................................................. 115
In Search of Paradise Lost: Osvald Sirén’s Scholarship on Garden Art
Minna Törmä
Chapter Seven .......................................................................................... 130
The Return of the Silent Traveller
Mark Haywood
Part III: Conceptualising Chinese Art through Display
Chapter Eight ........................................................................................... 154
Aesthetics and Exclusion: Chinese Objects in Nineteenth-Century American Visual Culture
Lenore Metrick-Chen
Chapter Nine ........................................................................................... 179
Exhibitions of Chinese Painting in Europe in the Interwar Period: The Role of Liu Haisu as Artistic Ambassador
Michaela Pejcochova
Chapter Ten ............................................................................................. 200
The Right Stuff: : Chinese Art Treasures’ Landing in Early 1960s America
Noelle Giuffrida
Part IV: Positioning Contemporary
Chinese Artists in the Globe
Chapter Eleven ........................................................................................ 228
Under the Spectre of Orientalism and Nation: Translocal Crossingsand Discrepant Modernities
Diana Yeh
Chapter Twelve ....................................................................................... 255
The Reception of Xing Danwen’s Lens-based Art Across Cultures
Silvia Fok
Chapter Thirteen ...................................................................................... 278
Selling Contemporary Chinese Art in the West: A Case Studyof How Yue Minjun’s Art was Marketed in Auctions
Elizabeth Kim S. 189.
(Huang1,
Publication)
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Person:
Koo, Vi Kyuin Wellington
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Person:
Matisse, Henri
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Person:
Picasso, Pablo
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