Art and Modernism in Socialist China: Unexplored International Encounters 1949–1979 (Routledge Research in Art History)

Cover
Half Title
Series Information
Title Page
Copyright Page
Table of Contents
List of Figures
List of Contributors
Acknowledgments
Introduction
	Notes
	Bibliography
Part One Art Exchanges
	1 Chile, China, Cuba, a Mural and Beyond
		Notes
		Bibliography
	2 Realism Or Modernism?: Exhibitions of Sesshu and Sino–Japanese Artistic Exchanges in the 1950s
		Sino–Japanese Artistic Exchanges Before the 1956 Sesshu Exhibitions
		The Sesshu Exhibitions and Their Political Significance
		Realism Or Modern Meanings: The Interpretations of the Sesshu Exhibitions
		Coda
		Notes
		Bibliography
	3 An Unpublicized Graduation Exhibition in 1962: Misalignments Impacting the Romanian Painting Class in China
		Baba Or Popa? Starting Off With a Misunderstanding
		A Diplomatic Strategy Rather Than an Art Exchange
		The Romanian School Vs. the Soviet School
		Two Contrasting Versions of the Real
		Conclusion
		Notes
		Bibliography
	4 A Short-Lived Challenge to Socialist Realism: Francis Bacon, Lucian Freud, and Other British Artists in a Little Known 1960 Exhibition in China
		A Pioneering Exhibition Rediscovered
		“A Western Alternative to the Influence of Naturalism”
		“Chinese Attitudes to Painting Are a Complete Reversal of Our Own”
		A Worldwide Network of Modernism
		Notes
		Bibliography
	5 “So Are They Good Artists?”: Context and Asymmetry in Postwar Sino–Italian Artistic Exchanges
		Postwar Italian Art in Context
		The Stakes of Postwar Sino–Italian Exchanges
		A Scroll Painting Like None Other: Bicultural Collaborative Work
		“So Are They Good Artists?”
		Conclusion
		Notes
		Bibliography
	6 The Politics of Landscape Painting: Three International Art Exhibitions in 1970s China
		China and Cultural Diplomacy in the 1970s
		Canadian Landscape Painting: Where Is the Group of Seven?
		Australian Landscape Painting: One Landscape, Two Presentations
		Why Did the French Exhibition Finally Succeed?
		Coda
		Notes
		Bibliography
Part Two Alternative Practices
	7 “Creating A New Era in the Twentieth Century”: Huang Binhong (1865–1955) and Modern Art During the Cold War
		Modernism Within the Socialist Camp
		Modernism Within the Capitalist Camp
		“A New Era in the Twentieth Century”: Traversing Two Camps
		Notes
		Bibliography
	8 Tan Huamu’s Pictorial Diaries in the Era of the New China
		Homecoming, 1949–
		Pictorial Diaries (1956–68)
		Quick Sketching, Expressive Suggestion, and Montage Composition
		Scenery, Landscape, and Photography
		Old Photographs and Inventory of Tan’s Paintings
		Witty Themes of 1957
		Snapshot Recordings
		The Image of the New Village: Barefoot Village Women
		Slope and Shepherd
		Notes
		Bibliography
	9 A Battle Between Two Paths of Art?: Huang Xinbo and Modernism During His Hong Kong Period
		Two Types of Creation?
		“Formalist” Oil Paintings
		Intersection Between Black-And-White Woodcuts and Oil Paintings?
		Conclusion
		Notes
		Bibliography
	10 The Moving Image: Ye Qianyu, Dance and Socialist Modernity in Art
		Introduction
		Ye Qianyu and the Creative Energy of the Print Media Industry in Republican Era Shanghai
		Making the Shift to Sketching From Life
		Ye Qianyu and Dai Ailian
		Travel and Awakening to Cultural and Ethnic Diversity Within and Beyond China
		Notes
		Bibliography
	11 Decorative Pictures: Zhang Ding and Chinese Modernism in the 1960s
		Zhang Ding’s Modernist Style
		Introduction and Transformation of the Concept of Decorative Pictures
		Decorative Pictures in Art Institutions
		Conclusion
		Notes
		Bibliography
	12 The Romanian Oil Painting Training Class and Modernist Undercurrents in Chinese Art Education of the Socialist Period
		Notes
		Bibliography
Part Three Coda
	13 Never Forget Mao: The Monumental as Radical Universal OR: The Making of a “Maoist Modern”
		Statue-Mania I: The Controversy Over the “Chinese” Martin Luther King
		The Maoist Modern – Rethinking “Socialist Realism” and the Monumental Universal
		Statue-Mania II: Controversies Over Devotional Imperatives, Fatherly Bodies, and Wavy Hair
		Conclusion: The Global Monumental as Radical Universal? A Transcultural Perspective
		Notes
		Bibliography
Index