[Customized gift] Li Meishu Memorial Hall Taroko

art analysis The size of Taroko (3) is not the typical oil painting size, but is long and narrow. Li Meishu, who often uses photography as a reference, cannot capture this long and narrow picture through the lens. Therefore, he connected the two photos up and down by moving the viewpoint to form such a huge and deep scene. The foreground is a river bank covered with lush trees, the middle ground is a mountain range connected by winding rivers, and the farthest point is a towering mountain. The foreground is mainly green, while the distant view is painted grey-blue. Even though the mountains are continuous, it still presents a clear sense of distance and distance. Plum trees also capture the softness of leaves, the flow of river water, and the hardness of mountain walls. The light is quite slight here, Only the dancing scales shimmered faintly among the lighted water waves, and there was a little light on the rocks and leaves illuminated by the sun. Such majestic and steep mountains and deep valleys, as Kinichiro Ishikawa said, indeed lack the sense of loneliness that Japanese mountains and rivers have, but this is the firm and rough expansion of the Taiwan Canyon! Digest/Li Meishu Digital Art Museum The size of this work is similar to the long axis of traditional Chinese ink painting, and the leaves are also painted using ink dots. The mountain wall also has a similar effect to the chaffing method. The combination of Chinese and Western ink and oil colors is related to Li Meishu's ability in ink painting. This work is of great significance for experimentation and innovation. The scenery along the Liwu River is beautiful, and the Indian head attracts so many tourists' attention that it makes people feel like there is no Jiazi in the mountains. Taroko (3) shows a profound and lofty sense of space, showing the perseverance and breakthrough of Li Meishu's creation. This is a phenomenon worth observing, especially given the unique combination of Western painting media, local Taiwanese landscapes, and traditional ink and wash dimensions. Digest/Li Meishu Memorial Hall Introduction to authentic art Title of work: Taroko (3) Material: Canvas Size: 194×97cm (120M) Type of work: Oil painting Creation date: 1976 Subject: Landscape Collection: Li Meishu Memorial Hall 【Frameless painting】 Printing method | 11-color top-quality giclee (Giclée) Material｜1. The world's top brand Canson® Museum Pro matte canvas‧ 385g/m² ultra-thick poundage‧ Advanced microporous coating technology ‧ Matte and waterproof protection ‧ 100% pure cotton acid-free 2. Economical matte canvas 280g/m²‧polyester fiber Dimensions | 20x30, 30x45, 40x60 Thickness 2 cm Back panel accessories｜Handmade wooden board, hidden nail design with stand, lanyard Limited edition｜100 pieces ★Limited edition prints will be accompanied by a certificate of purchase★ ★Shipment takes 8 working days after ordering, excluding holidays★ ★Museum-grade canvas VS economical canvas https://live.staticflickr.com/65535/52188070758_1092ee7074_c.jpg ★Limited edition prints will be accompanied by a certificate of purchase★ ★Shipment takes 8 working days after ordering, excluding holidays★ https://live.staticflickr.com/65535/52188544810_843a4b22cb_c.jpg https://live.staticflickr.com/65535/52188313584_512dfd7524_c.jpg Artist introduction Li Meishu (1902-1983) studied in the Normal Department of the Government-General Mandarin School in his early years. He was deeply influenced by Western painting and the idea of learning painting arose spontaneously. His early paintings, "Still Life" in 1927 and "Three Gorges Backstreets" in 1928, were selected for the first and second Taiwan Exhibitions. In 1928, he went to Tokyo and studied painting in Kawabata, Tongzhou Society and three painting research institutes in Hong Kong. The following year, he passed the entrance examination for Tokyo Art School (the predecessor of Tokyo University of the Arts). He studied under the masters of painting, Kotaro Nagahara, Mango Kobayashi and Saburosuke Okada, etc., laying a solid foundation for his subsequent realistic style. In 1934, he co-founded the Taiyang Art Association with his friends Chen Chengbo, Yan Shuilong, Yang Sanlang, Liao Jichun, Chen Qingfen, Li Shiqiao and Tateishi Tiechen. In 1935, "The Napping Girl" won the first place in the special selection of the 9th Taiwan Exhibition. Received the "Taiwan Governor's Award". In 1939, "Red Clothes" was selected for the Third Cultural Exhibition (formerly the Japanese Imperial Exhibition). In 1940, "Flowers and Girls" was selected for the 4th Cultural Exhibition (Fengzhu Exhibition), establishing his historical status as an outstanding Western artist in Taiwan. In 1946, he applied to be a member of the review committee of the first Provincial Exhibition. The exhibition "Sunday" was purchased by the provincial government and presented to President Chiang Kai-shek. Large-scale paintings such as "Dusk" and "Outing" in 1948 are regarded as representative works. After Taiwan was regained in 1945, In addition to being involved in the local politics of the Three Gorges, in 1947 he was elected to preside over the reconstruction of the Changfuyan Qingshui Patriarch Temple. Since then, the subject matter and style of his paintings have increasingly tended to be rural realism, reflecting his unique style and his demeanor that stands out from the crowd. After 1962, he successively served as director of the Cultural University, National Art College, Art professor, director and other teaching positions at the Normal University and other universities. Guiding art college and other sculpture students to participate in the metal relief project of the Three Gorges Ancestral Temple. Integrating the professional skills of the academy into the practice of traditional temple architecture is a pioneering work in the history of Taiwanese art education. Professor Li’s contribution to the promotion of art education is not only the formal education in the college, but also the guidance of many traditional wood and stone carvers hired by the Ancestral Temple with rigorous and exquisite aesthetic qualities. The Patriarch's Temple has become a "Palace of Oriental Art" made of exquisite sculptures and a classic masterpiece of Taiwan's modern temple architecture. In his later years, he was elected by the art circle to hold lofty positions such as Chairman of the Oil Painting Society, Chairman of the Artists Association, and Honorary Chairman of the Oil Painting Society. Li Jingwen, CEO of Li Meishu Memorial Hall Li Meishu Memorial Hall