Ten Chinese Oil Painters: Zhu Dequn

Author: Wang He
Publisher:
Publish Date: 2004-12-01
Features: The introduction of European oil painting to China initially served as a new painting technique adopted by Chinese artists. However, after a century of exploration, oil painting has today become a language for Chinese artists to freely express their thoughts and emotions. Art knows no borders, and oil painting is a universally recognized category in the international art world. Yet, Chinese oil paintings carry a unique cultural essence. Through the "Chinese Oil Painting" landscape, one can see the history and richness of contemporary Chinese society, as well as the prolific and diverse styles of Chinese oil painters. In a sense, Chinese oil painting is a rich visual cultural reader of modern Chinese art.
Selecting works from ten outstanding Chinese oil painters for publication is a highly academic endeavor. These ten painters represent different periods in the mid-20th century, whether living in China or abroad. Through long-term exploration and accumulation, they have created distinctive artistic styles. Their works have had a significant impact on both the international art world and the general public, and their artistic achievements have become symbols of China's exchange with the world.
The personal experiences and artistic orientations of these ten painters vary. In terms of themes, some focus on social phenomena, while others emphasize psychological expression. In terms of artistic form, some lean toward realistic depiction, while others favor abstract expression. However, their art shares a common cultural feature: rooted in the study of Western oil painting techniques, it blends China's own cultural traditions, particularly the concept of harmony between nature and humanity and the method of unifying the depiction of the external world with the expression of the inner world. This gives their works a unique Chinese cultural imprint.
In today's era of economic globalization, the shared space for international art has expanded. These ten painters, through their unique artistic languages, embody the spirit of the times, humanity, nature, and trees, leaving an indelible mark on contemporary art history. The World Knowledge Publishing House has chosen these painters to promote the achievements of Chinese oil painting in international cultural exchanges. We believe that these artists' works, as representatives of Chinese art, will engage audiences from diverse cultural backgrounds in broader cultural spaces, thereby fostering mutual understanding and emotional connection.
Zhu Degui was born in 1920 in Xuzhou, Jiangsu. In 1935, he entered Hangzhou Art College, where its then president, Lin Fengmian (1900–1991), recruited many talents who had studied in France. Lin Fengmian's personal fondness for modern French painting further influenced the college's artistic style. At that time, students in the painting department of Hangzhou Art College studied both Chinese and Western painting, and Zhu Degui was able to receive training in both Western and Eastern painting theories and techniques during this period. Among Western painters, those who most influenced Zhu Degui were Wu Dayu (1903–1988), who studied in France and highly admired Post-Impressionism, and Fang Ganmin. In Chinese painting, Zhu Degui was mentored by Pan Tianshou (1898–1971), who favored the theory of freehand brushwork and the expressive style of Shi Tao. In fact, the theory of Chinese freehand brushwork that Pan Tianshou advocated was similar to the Western modern painting theory favored by Lin Fengmian or Wu Dayu. Zhu Degui's art combines the gentle and delicate qualities of Eastern art with the bold and ruggedness of Western painting, reflecting his fusion of his Chinese cultural background, historical heritage, and the use of Western painting tools and techniques.
Zhu Degui has always been deeply fond of Chinese poetry and has continuously expressed poetic themes through his paintings. His works embody both a grand and majestic spirit and a subtle, lingering emotion. In 1955, Zhu Degui left Taiwan and traveled to Paris, beginning his artistic journey. In the 1960s, his works often featured single-colored backgrounds, with broad and thin lines, sweeping across the canvas like flowing water or cascading, exuding the of "a thousand miles of rushing rivers." The details were rendered with fine lines, subtle and graceful, like the demeanor of Xiao Qiao on her wedding day. Guided by Zhu Degui's unrestrained brushstrokes and lines, our thoughts wander through the misty, ethereal landscapes of mountains and trees.
In the 1970s, Zhu Degui's work was deeply influenced by Rembrandt's use of color and light and shadow. Rembrandt often concentrated strong light in the form of white or yellow on a background of thick, dark black or dark brown strokes, creating dramatic contrasts and a melancholic, sorrowful atmosphere. Zhu Degui once stated, "The light in Rembrandt's paintings makes his works more profound, majestic, and solid." Beyond Rembrandt's distinctive style—his strong light beams, thick colors, and broad, sweeping lines—Zhu Degui also employed his own quick, "Flying White"-inspired brushwork and the juxtaposition of white or light-colored blocks, allowing his 1970s style to break free from Rembrandt's melancholy and instead embrace an elegant and flowing grace.
In the mid-1980s, the lines, dots, and bold strokes in Zhu Degui's work aligned closely with Chinese calligraphy and painting. The ups and downs, pauses, and horizontal and vertical movements of Chinese calligraphy were evident in his works of this period. By the 1990s, Zhu Degui's works grew closer to traditional Chinese painting, and his dual and triple compositions were influenced by traditional Chinese scroll paintings. Titles like "The Earth Awakens," "Snow Melts, Auspicious Qi," or "Meditation" reflect the Chinese artistic tradition's emphasis on the changes of the universe and the relationship between humanity and nature.
Wu Guanzhong once described Zhu Degui's works as "the loud, rushing sound of heavy rain on the large strings, and the soft, whispering sound of the small strings." The rhythm created by the dynamic lines in Zhu Degui's paintings, combined with the interplay of light and shadow, forms melodies that shift in tempo and intensity, like musical notes. Overall, Zhu Degui's works are closely tied to natural phenomena, especially light, reflecting the impressions formed through the artist's deep contemplation.
French art critic Piero Piccioni once wrote, "True painting comes from memory." Zhu Degui describes his most dazzling memories in a profound way. This shows Zhu Degui's deep attachment to this world, its fragrance, its lingering charm, and the distractions of the mundane. These are the subjects he seeks to capture.
Zhu Degui depicts the transparent air, cool mist, wandering wind, rapid rapids, and fresh snow in nature. Light often appears as a pale rose-colored dawn or a fiery sunset, moving mysteriously and dynamically within the scene—this is the source of the vibrant vitality in Zhu Degui's works. He uses an exaggerated yet lyrical approach to convey strong yet lasting impressions, blending dreamlike qualities with dramatic effects.
Since 1955, when Zhu Degui went to Paris to study and create, he has been recognized by the international art world. In 1997, the French Ministry of Foreign Affairs organized a series of Asian exhibitions for Zhu Degui. In 1998, the French government awarded Zhu Degui the title of Academician of the French Academy of Arts, a rare honor for a Chinese artist in the 200-year history of the institution. In 2000, the French Ministry of Foreign Affairs organized the first exhibition of Zhu Degui's second Asian tour at the Shanghai Museum, which was also the museum's last invitation to a living artist to exhibit their works. This demonstrates the high regard and recognition the French art world and the Shanghai Museum hold for Zhu Degui's artistic achievements.