DThe Wiesbaden Art Museum is currently exhibiting a series of paintings entitled “Painter Portraits” by the Chinese artist Huang Chunqing based in Frankfurt. They are abstract works, moved by the vibrant brushstrokes, through their choice of colors, textures and lines, they evoke the image of Western artists in the form of painting signatures. Anyone who enters the art gallery can recognize some of them from a distance.The unmixed orange, yellow, and blue black frame shape immediately appeared as a tribute to Marianne von Werefkin. The rectangular strips hatched in luminous purple tones on brown were undoubtedly inspired by Marc Rothko, and the stripes were vertical stripes, from On the skin-colored tadpole-like figures appear concentratedly like painting thoughts Edward MunchBut in most of the photos taken in the past five years, the “drawn” cannot really be “drawn”. The yellow-green line ball, at best, the outline of the graphic structure is reminiscent of Max Ernst (Max Ernst). ), and the confused green bushes draw the extreme sum of Henry Rousseau’s jungle world.
Born in Heze, East China in 1974, Huang Chunqing, who came to Germany in the millennium after studying at the Beijing Academy of Fine Arts to continue her studies at the German National High School, is also the reason for her work. Her training in the motherland also includes calligraphy training, which requires special posture and breathing skills to make the characters independent in visual form. Huang Chunqing’s artistic motivation seems to be rooted in writing motor skills. He fixed individualized action figures, energy lines, and rhythmic structures in abstract expression. Through the “Painter’s Portrait” project, she processed her impressions of Western classical, modern and post-modern artists, whom she met during her travels in Europe and the United States. Her portrait infers how their artist model will use the brush and translates it into their own visual language.
The portrait features of about 50 works are emphasized because of their relatively small and (with few exceptions) vertical format. Cultural forms allow them to be interpreted as depictions of faces. In fact, in some paintings, gestures are clustered together like nerve centers, such as the appropriation of Adolph Menzel, which is filled with mud and blood. It is undeniable that most of them resemble colorful landscapes composed of thickly painted dancing surfaces (Matisse) or glowing plants (Schlemer). The most obvious is the closeness between Huang Chunqing’s portrait and Alexej von Jawlensky (Alexej von Jawlensky), especially his late abstract portrait, which combines supremacist symbolism with iconic aesthetics. It clearly reveals something that cannot be reproduced. Even more happily, the curator of this project has incorporated five portraits including Huang Chunqing’s orange-black-blue-beige spotted carpet “Jawlensky” into the permanent exhibition of the Wiesbaden Museum. This Russian The born artist spent the last stage of his life there. This is why in the vicinity of the Chinese woman, his series of non-faces have consumed the subject in advance.
Painter portraitThe Art Museum in Wiesbaden; until August 22, the intervention at the Wiesbaden Museum until August 29. The exquisite catalog book sells for 20 euros.
