Then again, maybe I'll go with this outline for the vinyl decal. It was an earlier attempt and I don't even remember how I did it. I did a lot of tweaking before taking a threshold. I have fixed it up a bit for cutting in Inkscape.
#xubeihong #yearofthehorse #inkscape #gimp
Xu Beihong's galloping horse reduced to where I *might* be able to cut a 10cm vinyl sticker for my laptop in a single color.
Does anyone like this? Hate this? Please comment. The contour lines are between levels of shading. This is not AI-art.
#xubeihong #yearofthehorse #inkscape #gimp
I'm not sure if two layered vinyl stickers is overkill for a laptop decal. My Cricut should be able to do it though the hooves are kind of wispy.
#inkscape #cricut #yearofthehorse #xubeihong
The sitter, Christina Li Hui Wang (李惠望 often recorded in English as Christina Lee / Christina Li Hui Wang and in Chinese name order as Li Hui Wang), was a young Singaporean Chinese woman who would later marry film magnate Loke Wan Tho (陆运涛). Painted in 1940 at Jiang Xia Tang in Singapore, the portrait comes from Xu Beihong’s Southeast Asian years, when he combined fundraising exhibitions for a war-torn China with commissioned portraits of the Nanyang Chinese elite. The young East Asian woman sits turned sideways on a wooden chair, her body angled towards us while her gaze drifts slightly upward and left, as if listening to someone just out of frame. Her skin has a warm, light-golden tone as soft light from the left catches her cheekbones and the bridge of her nose, leaving gentle shadows under her chin and around her dark, thoughtful eyes. Her short, wavy black hair frames her face and brushes the collar of a close-fitting, short-sleeved dress patterned with bright red, yellow, blue, and green flowers. One bare forearm rests loosely along the chair back, fingers relaxed, suggesting ease. Behind her, a flat beige wall and a vertical band of darker tan are broken only by a slim hanging scroll with Chinese characters and a red seal, anchoring her in a Chinese cultural space. Xu’s European academic training shows in the careful modeling of Christina’s face, the convincing weight of her arm, and the natural fall of her floral dress, yet he strips away props of status to focus on her personality. She is a modern Chinese woman rooted in Chinese culture, yet dressed in cosmopolitan fashion, and living amid the uncertainties of war and empire. At this moment, Xu was emerging as a leading voice of modern Chinese art, arguing that realism could humanize national struggle. In Christina’s far-off gaze and poised, slightly tense arm, he captures a private experience of that larger history, turning a society beauty into the quiet protagonist of a modern Chinese story.
一位年轻女士的肖像 (Portrait of a Young Woman, Christina Li Hui Wang) by 徐悲鸿 / Xu Beihong (Chinese) - Oil on canvas / 1940 - CAFA Art Museum (Beijing, China) #WomenInArt #art #artText #artwork #XuBeihong #徐悲鸿 #Beihong #BlueskyArt #CAFAArtMuseum #portraitofawoman #ChineseArtist #中央美术学院美术馆 #ChineseArt #1940s
Jiang Biwei (蔣碧薇) leisurely relaxes on a golden-yellow bed reading a book. In the early 1920s Chinese artist Xu Beihong (徐悲鴻) produced numerous paintings and sketches in France of his muse Jiang. The couple were madly in love at the time and too poor to hire models. Jiang was born as Jiang Tangzhen (蔣棠珍) in April 1899 in Yixing, Jiangsu province. In 1911, her parents betrothed her to Zha Zihan, from an influential family of Haining, Zhejiang. In 1916, her family moved to Shanghai for her father to be a professor at Fudan University. One of his students was the ambitious young artist Xu Beihong who became very close with his daughter. Xu was set to go to Japan to study art and Jiang was upset to be forced to marry Zha, so the couple left a note and eloped to Japan giving her the alias "Jiang Biwei" ... which later became better known than her real name. The embarrassment for her family was so great that they declared she had died from an illness. Their anger subsided after Jiang wrote an apology. After 6 months, Jiang and Xu moved back to Shanghai. In 1918, Xu was offered a scholarship to study in France and the young couple moved to Paris. In the mid-1920s, they returned to China and Jiang gave birth to a son and a daughter. But, by 1930, Xu had fallen in love with one of his students: Sun Duoci (孙多慈) ... or so the story goes, but it might of been exaggerated rumors spread by Kuomintang (KMT) leader Chang Tao-fan (张道藩), aka Zhang Daofan, who had known Jiang since Paris and was sending her love letters ... even though Chang had a French wife and child. Jiang and Xu finally and very publicly divorced in the 1940s. When the Kuomintang lost the Chinese Civil War and retreated to Taiwan, Jiang went with Chang and they lived together for 10 years including many when he was president of Taiwan ... before his wife returned in 1958. Jiang published her memoir "Reminiscences of Jiang Biwei" in 1964: composed of two volumes, "Beihong and I" and "Daofan and I."
读书的蒋碧薇 (Jiang Biwei Reading) by 徐悲鴻 / Xu Beihong (Chinese) - Oil on canvas / 1920s - CAFA Art Museum (Beijing, China) #WomenInArt #art #ChineseArtist #reading #artText #ChineseArt #CAFA #PortraitofaWoman #张道藩 #BlueskyArt #蔣碧薇 #JiangBiwei #徐悲鴻 #XuBeihong #CAFAartMuseum #中央美术学院 #artwork #OilPainting
Four cormorants. One masterstroke of ink. Xu Beihong’s 1935 painting isn’t just art—it’s resistance in feathers. Read the sharp, irreverent take on a classic.
👉 shorturl.at/K1Ei3
#XuBeihong #CormorantMood #ArtWithTeeth
This 1936 oil painting by Chinese artist Xu Beihong (徐悲鴻) of Sun Duoci (孙多慈) was produced when the pair were in love despite the artist being married and she being his student ... and a talented artist herself. This is one of the largest portraits ever created by Xu. His studio provides the backdrop, and the objects were placed there intentionally. On the cabinet, there is a Greek statue that Xu brought back from Europe, a plaster sculpture of Athena, and face molds of Tolstoy and Lenin. At the back on the left, there is a Chinese porcelain jar filled with scrolls on the ground. Sun is the focal point, occupying the central space. Her dark hair is styled in a short "modern" bob and she is dressed in a pale blue sleeveless cheongsam-style dress with a darker collar plus white stockings and dapper white high-heel shoes, suggesting a modest yet chic style. Her posture is relaxed but upright as she turns to stare directly at us with a piercing focused gaze. Sun sits in a prominent dark brown rocking chair with swirling, ornate details on its arms and legs which contrasts with the lighter tones of her dress. Sun Duoci was a famous Chinese artist for her oil paintings, sketches and ink and wash works. She was also an accomplished calligrapher and writer. Xu regarded her as a "painter of genius." Xu, also known as Ju Péon, is primarily recognized for his Chinese ink paintings of horses and birds. He was one of the first Chinese artists to articulate the need for artistic expressions that reflected a modern China at the beginning of the 20th century. He was also regarded as one of the first to create monumental oil paintings with epic Chinese themes – a show of his high proficiency in Western art techniques. Xu was one of the four pioneers (along with Yan Wenliang, Lin Fengmian, and Liu Haisu) of Chinese modern art who have been hailed as "The Four Great Art Academy Presidents" (四大校長).
孙多慈像 (Portrait of Sun Duoci) by 徐悲鸿 (Xu Beihong / Chinese) - Oil on canvas / 1936 - CAFA Art Museum (Beijing, China) #womeninart #art #oilpainting #portraitofawoman #womensart #徐悲鸿 #XuBeihong #CAFAArtMuseum #中央美术学院美术馆 #ChineseArt #ChineseArtist #孙多慈 #SunDuoci #fineart #ArtText #Chinese #四大校長 #CAFA
