Beyond the Brush Exhibition Ashmolean 29th April 2017

Before attending the Degas to Picasso exhibition as I arrived early I spent some time in the exhibition “Beyond the Brush” at the Ashmolean. Personally the exhibition has made me think of my own use and marks with ink, for example of  the marks in the Grey Man assignment 4 and how all of this will translate within my landscape work.

The exhibition explored abstraction within Chinese Art. The small exhibition focused on a small number of 20th Century artists that were all members of the Fifth Moon group in the 1960’s that had combined chinese and western art within their work. I was particularly interested as the paintings combined ink, acrylic and college and the work combined but veered away from the “conventional use of the brush and emphasised the importance of personal expression and individual style in search of a new modernity” (Ashmolean 2017).

I have been unable to find the image of “Pastoral Love” (1998)by Ghu Ko/Chu Ge  (b1931), the multiple lines used to create these massive curves for the mountains was beautiful. Below is the closest image of his work I could find although it doesn’t show the vibrant wash of blue, greens and brown colours used within the lines in “Pastoral Love”.

Chu Ko Mounatins

Fig 1 Chu Ko (information un able to translate)

Fong Chung-Ray’s (b1933) Abstraction 1970 was a composition that combined calligraphy ink, textured layers and colour graduations of ink. ” The subtle hues of blue, grey and ink wash in this Landscape painting add abstraction form with rhythmic vitality” (Ashmolean, 2017). Image unable to be displayed, I particularly like the sense and atmosphere of Abstraction 1970 and that the caligraphy marks hint at tree branches, mountains, clouds however this is just my interpretation of the marks.

Abstract Collage 2008 ink, acrylic and japanese paper shows Fong Chung-Ray interest in college that developed after moving to america in 1975. After 1989 the artist “developed his distinguished style that blends the essence of Chinese literati painting and the spirit of modern western art” (Ashmolean, 2017).

Fong Chung ray 2008

Fig 2 Fong Chung-ray abstract Collage 2008, Ink and acrylic on japanese paper.

Other images I viewed included a landscape scroll which had a cropped elongated composition which reminded of the exercise within Robert Kaupelis which experiments with different shaped canvas or paper such as oval.

Fig 1 Chu Ko (information was un able to translate) (accessed 16/05/17).

Fig 2 Fong Chung-ray abstraction Collage 2008 (accessed 16/05/17)


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