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【评论】关于罗尔纯的绘画艺术

2010-08-16 10:28:07 来源:艺术家提供作者:Michael Sullivan
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  我很愿意就罗尔纯先生的绘画艺术风格写点评论。
  古老传统的中国绘画总是用单色的墨色和书法般的线条来体现其自身艺术的。色彩用于这类作品中是辅助的方式,从根本上说是为了使作品达到逼真的视觉效果,从而给作品加点色彩或彩色的线条。
  确切地说,在很大程度上,传统的西方绘画也是如此。
  在特纳【J.M.W.Turner1775-1852】晚期的作品中,他也许是第一个用纯净的色彩来表达自己作品的激情的艺术家。他后来被印象派和后期印象派画家们所追随,他们都始终如一地使用色彩来创作作品和作为创作自己作品的基础。
  甚至那些追随后期印像派画家的当代中国印象派艺术家们,能够直接运用色彩来表达自己激情的作品是非常少见的,这就是我为什么从与他同时代的中国艺术家里,挑选罗尔纯艺术进行点评的缘故。
  罗尔纯一定是阅读过梵高【Vincent van Gogh 1853-90】与他哥哥瑟奥【Theo】的那些通信(1853-90)。梵高在1888年写给他哥哥的信中写到:“我不再用碳棒画画。要画好一幅作品,艺术家必须用色彩来 创作出自然界原本就美的色彩”。我想梵高定会满意和赞同罗尔纯作品的所为的”。
  罗尔纯不会介意我说‘他的作品不是每一幅都是杰作’的看法。但他的优秀的作品是充满着自信的能量和直接接近他的创作主题的,令人赏心悦目。再者,当我们观看他笔下的那些男、女人物时,可以一目了然地知道这些人物是谁、人物的情感和特征都跃然于画布上。
  在中国当代艺术中,罗尔纯看来不属于任何学院或流派,他一直遵循着自己的风格。对于我来说我感到特别荣幸:能看到在中国当代艺术领域里他的独特的绘画风格、能结识他这位艺术家、能拥有他的作品、能看到他在中国当代艺术世界中,所拥有的独一无二的地位。

迈克・苏立文写于英国牛津
2009年11月21日

For Luo Erchun

  It is a pleasure for me to write these few words about the art of Luo Erchun.
  The great tradition of Chinese painting is expressed above all in monochrome ink and the calligraphic line. Colour in such paintings is something that is added, if at all, to the drawn or painted line to make the subject look more real.
  That is true also, to a great extent, of the tradition of Western painting.
  J.W.M Turner (1775-1852) was perhaps, in his later work, the first artist to express feeling and emotion in pure colour. He was followed by the Impressionists and Post-Impressionists, who most consistently used colour as the expressive element in their paintings.
  Even among contemporary Chinese artists who have responded to Post-Impressionism the ability to reveal feeling directly through the expressive use of colour is very rare, And that is what singles out Luo Erchun from most of his contemporaries. He has surely read the correspondence of Vincent van Gogh (1853-90). In a letter to his brother Theo of 1888 he said, “I will not draw a picture with charcoal. You must attack the drawing with the colour itself in order to draw well”. He would well have understood what Luo Erchun was doing.
  Luo Erchun will not mind my saying that every painting of his is not wholly successful. There are times when his drawing is less than expressive of the form. But in his best work there is a confident energy and directness of approach to his subject that is exhilarating to the viewer. Moreover, when we see these men and women who are his subjects, we know exactly what sort of people they are; their personality and character leap out of the canvas.
  Luo Erchun does not seem to belong to any School, or trend, in modern Chinese art. He is always himself. It is a privilege to me to have met him, to own his works, and to see what a unique position he occupies in the world of contemporary Chinese art.

Michael Sullivan
Oxford,
November 21, 2009

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