CDQ003 陈丹青 北方青年 92x138cm 布面油画 2010

陈丹青的风格，在于笔姿。尽管对西洋先师亦步亦趋，而作为中国人，他的用笔又多了几分书法性，画面呈现一种中锋用笔的效果。以书法入西洋画，未必是有意，而是教养。他的笔姿俊逸，却不以笔法逞能，尤其注意衔接过渡的微妙自然，既生猛，又含蓄，他像马奈放笔直取，但又舍弃马奈式的尖锐。他的人体，温润流转处得维拉兹贵之遗意，性感的质地来自卡拉瓦乔，而柯罗的朴素与华托的纤巧贵气，也都影响了他。动笔写生人物，他心仪古代绘画的高华，但又懂得现代派的紧张与强劲的意义。

Chen’s stylelies in his stroke. Although he follows the style of his teachers from westerncountries, as a Chinese, he adds calligraphic factors to his stroke to createan effect of traditional calligraphic manner in paintings. He may not harmonizethe Chinese calligraphy with Western paintings on purpose but his goodeducation dictates. Chen’s stroke is natural and elegant. He doesn’t show offhis skills and particularly pays attention to delicate and natural connectionsand transitions,compromising straightforwardness and reticence. He is as wildas Manet without Manetic sharpness. His body painting is influenced byVelázquez in terms of natural transitions, by Caravaggio in terms of sexyqualities, by Corot in terms of his simplicity and by Watteau in terms of hisdainty and dignity. To draw figure sketches, Chen appreciates the elegance ofancient paintings and understands Modernism’s meaning of tension andpower.

陈丹青

1953年生于上海，毕业于中央美术学院。艺术家、作家、文艺评论家。
1970年—1978年辗转赣南、苏北农村插队落户，其间自习绘画，是当时颇有名气的“知青画家”。1980年以《西藏组画》轰动中外艺术界，成为颠覆教化模式，并向欧洲溯源的发轫，被公认为具有划时代意义的经典之作。绘画之余，出版文学著作十余部。陈丹青无论画风与文风，都具有一种优雅而朴素；睿智而率真的气质，洋溢着独特的人格魅力。