Question d'origine :
J'aimerais avoir des infos sur l'oeuvre de cette femme peintre chinoise et surtout comment avoir des photos ou reproductions de ses peintures ? Un titre d'ouvrage avec l'éditeur me serait bien utile.
Merci.
Freeyanne
Réponse du Guichet
bml_art
- Département : Arts et Loisirs
Le 21/05/2004 à 07h00
Dans le Dictionnaire des peintres... de Bénézit : Pan Yu-Lin, ou P'an Yu-Leang ou Pan Yu-Liang, née vers 1895 ou 1905 dans la province du Anhui. Morte en 1977. Depuis 1938 active en France. Chinoise. "Après avoir été la première élève de Liu Haisu à l’académie des beaux arts de Shangai, dont elle est sortie diplomée en 1921, le gouvernement lui accorde une bourse pour aller terminer ses études à l’Ecole des Beaux arts de Paris. Elle passe ainsi huit ans à poursuivre sa formation à Paris dans l’atelier de Lucien Simon, à Lyon, et à Rome dans celui de Conomardi à l’académie nationale des arts pour travailler la peinture à l’huile et la sculpture. De nouveau en Chine, de 1928 à 1937, elle enseigne à l’academie des beaux arts de Shangai, et à l’Université nationale centrale à Nankin, sous la direction de Xu Beihong. Elle revient alors à Paris, ou elle vit depuis faisant partie de l’Association des artistes chinois en France.
Elle participe à Paris, aux Salons des indépenfdants et d’Automne, dont elle membre sociètaire.
Ses œuvres sont celles d’une artiste mûre, munie d'une connaissance profonde des techniques de la peinture à l'huile... et malgré sa dette indiscutable à l'égard de Cezanne, elle preserve la vitalité de la ligne chinoise…"
D'après le Bénézit, vous pouvez voir ses oeuvres au Musée de la ville de Paris, et au musée Cernuschi à Paris.
Bénézit signale une monographie de M Sullivan, mais la Bibliothèque ne possède pas cet ouvrage. Par contre la bibliothèque possède un livre 民 国 艺 苑 风 景 线 : " 民 国 春 秋 " 杂 志 荟 萃 , illustré, et en chinois qui évoque entre autres Pan Yu-Lin.
Vous pouvez trouver également des informations en anglais et quelques illustrations sur ce site.
En 1995 un film franco-chinois Pan Yuliang artiste peintre , avec Gong Li, s'inspirant de la vie de Pan Yu-Lin a été réalisé, voir également en français.
Réponse du Guichet
bml_chin
- Département : Fonds Chinois
Le 21/05/2004 à 09h37
Artiste chinoise née en 1895 et décédée en 1977, Pan Yuliang a fait des études artistiques en France, successivement, à l’Ecole des Beaux-arts de Lyon et de Paris. Elle est arrivée à Lyon en septembre 1921 où elle n’est restée que deux années à peine. Elle fut pensionnaire de l’Institut franco-chinois de Lyon, et la Bibliothèque municipale de Lyon possède quelques archives qui constituent des traces de son passage, notamment un document manuscrit de la main de l’artiste ainsi qu’une appréciation de son professeur à l’Ecole des Beaux-arts de Lyon.
Sa jeunesse a été marquée par une grande détresse, car elle fut vendue très jeune comme prostituée et fut «sauvée» par un fonctionnaire qui l’épousa et lui permit de partir en France faire des études. La fin de sa vie, à Paris, ne fut guère plus heureuse car elle y mourut dans des conditions matérielles difficiles.
Elle est l’un de ces artistes chinois formés à l’école française et dont le style emprunte aux deux cultures.
À notre connaissance, il n’existe aucun ouvrage français ou anglais sur cette artiste ; il en existe par contre plusieurs qui ont été publiés à Taiwan mais qui ne semblent pas avoir été acquis par des bibliothèques françaises. Nous vous signalons ces deux références :
Zhou Zhaokan, Pan Yuliang, Taibei Shi : Jin xiu chu ban shi ye gu fen you xian gong si, 1995, 32 p. : ill.
Pan Yuliang hua ji = The art of Pan Yu-lin, Taibei Shi : Guo li li shi bo wu guan, [1995], 141 p. : ill.
Il existe un film qui fut réalisé en 1993 intitulé Pan Yuliang Artiste Peintre (titre original Hua hun), par Huang Shuqin avec Gong Li dans le rôle titre.
Synopsis:
Vendue comme prostituée, Yuliang, jeune orpheline rebelle, s'évade du «Jardin des plaisirs», une maison close de la Chine du début du siècle. Elle part se réfugier chez Pan, un haut fonctionnaire rencontré un soir. Bientôt épris de la jeune femme et bravant le risque de voir sa réputation entachée, Pan la prend pour seconde épouse. Ainsi, Yuliang échappe à sa triste destinée et se découvre une vocation : la peinture. Inscrite aux Beaux-Arts de Shanghai, sous le pseudonyme de Pan Yuliang, elle s'intéresse essentiellement aux nus féminins. Mais, en Chine, peindre des nus heurte l'opinion publique. Lors d'un cours, une émeute éclate. L'école est saccagée et le directeur emprisonné. Seule issue pour l'artiste : partir étudier en France. Fruit d'un travail de plusieurs années, ses œuvres obtiennent un franc succès. L'une d'elles, «La baigneuse», est primée au Salon du printemps. Peu après, Pan Yuliang rejoint son pays. Admise comme professeur à l'école des Beaux-Arts de Nankin, elle suscite une féroce jalousie chez ses confrères masculins. S'ensuit un scandale. Pan la répudie et elle repart à Paris, peu avant la Seconde Guerre mondiale. Désormais reconnue, Pan Yuliang finira pourtant sa vie esseulée et minée par l'alcool. Elle décède en 1977, et repose, depuis, au cimetière du Montparnasse. Ses œuvres ont été léguées à la famille de son mari...
Vous pouvez acheter ce film chez CinémAsie.
Le site chinois Cl2000 contient une courte biographie de l’artiste en anglais ainsi que des reproductions de deux de ses œuvres.
Le site de la Ching Wan Society présente une œuvre.
Le site du Musée de la province chinoise du Henan propose une exposition virtuelle de huit de ses œuvres.
Un site chinois multilangue d'informations contient une œuvre et donne une biographie en anglais, précédemment publiée dans le quotidien chinois de langue anglaise China Daily, du 1 mai 2002.
Welcome to Shanghai, un portail consacré à cette ville, présente une photographie de groupe prise dans les années 1930 à Shanghai. Pan Yuliang se trouve à gauche au premier rang.
Nous vous engageons aussi à lire sur le site de Taipei Times un article en anglais consacré aux artistes chinois formés en France durant la première moitié du 20ème siècle avec un accent mis sur les cotes de leurs œuvres, parmi lesquelles celles de Pan Yuliang.
Réponse du Guichet
bml_chin
- Département : Fonds Chinois
Le 24/05/2004 à 07h23
Un article daté du 31 mai 2002 publié dans le quotidien anglophone chinois China Daily évoquait une exposition itinérante d’une sélection d’œuvres de Pan Yuliang extraites des collections du Musée provincial de l'Anhui situé dans la ville de Hefei ; une consultation des pages de ce musée consacrées aux collections de l'artiste vous permet de visualiser 26 œuvres de Pan Yuliang. Malheureusement, il n’existe pas de version anglaise du site de ce musée. Pour faire apparaître les œuvres, cliquez sur les éléments situés à gauche. Successivement et dans l’ordre vertical, vous accéderez aux peintures à l’huile (13 œuvres), aux croquis (2 œuvres) et aux peintures dans le genre traditionnel chinois (11 œuvres).
Ci-dessous le texte de cet article (en anglais) qui n’est plus disponible en ligne.
From red lights to painting the town red
By YANG YINGSHI
She won world fame with her great works and outstanding artistic talent but
was looked down upon by her contemporaries because she was a concubine and
an ex-prostitute.
Even today, Pan Yuliang (1895-1977) appears in some Chinese publications
more as a degenerated woman with miraculous experiences than as an artist
with international influence. She was stereotyped as a charming "beauty
artist" in the film "A Soul Haunted by Painting (Hua Hun)," directed by
female director Huang Shuqin and starring actress Gong Li in 1993.
No wonder visitors to the exhibition "A Soul Haunted by Painting: Legendary
Woman Artist Pan Yuliang" were surprised at the magnificence of Pan's works
of art on display.
The exhibition, which runs through Tuesday at the Nationalities' Cultural
Palace in Beijing, features 80 oil paintings, ink paintings, sketches and
drawings Pan created from the 1940s to the 1960s, when she was living in
Paris. Visitors are also encouraged to sit down and enjoy the mentioned film
in the exhibition hall.
All exhibits in the show were selected from the huge collection of more than
4,000 precious works Pan bequeathed to the Anhui Provincial Museum upon her
death in Europe.
According to Li Tiezhu, exhibition director of the cultural palace, this is
the first time so many figure paintings - mostly portraits of nude women -
by Pan are included in her solo exhibition in Beijing, representing the
growing recognition of Pan's artistic achievements and rapid conceptual
change in an opener Chinese society.
"During a smaller exhibition in 1993 in another Beijing venue, many of her
nude paintings were taken out and the publicity for that show was very low
key," Li recalled. "But this time, we just concentrated on exhibiting Pan's
figure paintings, especially portraits of nude women. We are glad that it
has become quite acceptable for everybody."
A lonely heart
Pan herself faced endless misunderstandings and prejudices throughout her
life. Born as Zhang Yuliang in Yangzhou of East China's Jiangsu Province,
she became an orphan at the age of 8. Her uncle raised her for six years and
then sold her to a brothel in Wuhu of East China's Anhui Province.
After three years' suffering at the brothel, the teenage prostitute met her
future husband, Pan Zanhua, a kind-hearted man who sympathized with her and
decided to help her. A revolutionary and newly appointed customs official to
the city of Wuhu, Pan Zanhua was impressed by the girl's sufferings and
talents. He managed to rescue her out of the brothel and married her as his
second wife in 1916. They moved to Shanghai that year. Feeling grateful to
her husband, the young woman named herself after his family name.
It was after marriage that Pan Yuliang began to learn how to write and
paint. Soon her careful and knowledgeable husband discovered her talents. He
encouraged her to apply to the Shanghai Art School, one of the earliest art
schools in China that taught Western painting. In 1918, she enrolled at the
school with especially high scores in drawing and colouration.
In 1921, with the help of her husband and Liu Haisu, president of the
Shanghai Art School, she went to France and became the first Chinese student
at the National Leon Art School. Two years later, she enrolled at the
National Paris Art School where she became a classmate of Xu Beihong
(1895-1953), who later became a famous painter in China.
In 1925, she graduated from the Paris school with the highest scores and was
given the Rome Scholarship, a supreme honour for students of the top art
school in France. With the scholarship, Pan continued her study of oil
painting and sculpture at the Royal School of Fine Arts in Rome for two more
years.
While in Rome, Pan's works won gold prizes at the Rome International Art
Exhibition and the Italy International Fine Arts Exhibition. She was the
first Chinese artist who won awards in such important art events.
In 1928, Pan returned to China at the invitation of Liu Haisu. She held her
first solo show in Shanghai and was employed as a professor at the Shanghai
Art School by Liu. Soon after, she was invited to be a professor at the art
department of the Central University in Nanjing by her classmate Xu Beihong,
then director of the department.
With great enthusiasm, Pan devoted herself to art education in her
motherland. Teaching at two of the best art schools in China, Pan dreamed of
a rosy future for Chinese art and her own career.
But because of social prejudices at that time in China, she was often
despised in spite of her professorship and excellence in art. It was also
hard for some conventional Chinese colleagues and students to accept her
artistic concept with the influence of Western modern art.
"I remember there were only two or three students in Professor Pan's class,
which is fairly few compared with the class of professors like Xu Beihong,"
said Yu Feng, 86, a renowned woman artist who studied under Pan at Central
University from 1934-35. "It really worries me today there are too many
irresponsible books, media reports, movies and TV programmes that distort
the image of Pan Yuliang. I was surprised to know there are at least 10 film
studios ready to feature her 'romance.'
"She had an impressively strong character, and she embraced art with all her
life. Her success as an artist has little to do with her 'legendary'
experience."
Under the torturing prejudices, in 1937, Pan left China for Paris, where she
led a lonely and frugal life as an independent artist for the next 40 years.
After New China was founded in 1949, Pan planned to return home but
eventually failed to do so because of the political turbulences, the death
of her husband in 1959 and the quickly decaying health of herself.
In 1977, she died in regret and poverty in her small apartment in Paris.
When she was living in France, she refused to change her citizenship from
Chinese to French for a better standard of living. When she died, she
dressed herself in a traditional Chinese qipao to show her unswerving love
of the motherland. In her will, she bequeathed all her works of art to
China.
For art's sake
In 1982, when Yu Feng was visiting France with a delegation, she was asked
by the Chinese Embassy in Paris to sort out the works Pan Yuliang left
behind.
"I was amazed by the thousands of wonderful works randomly stacked in her
shabby basement. Like always, she was so diligent and devoting in art. She
did everything so well: from oil paintings to ink paintings, from sculptures
to sketches..." Yu said.
Yu, then an official with the Chinese Artists' Association, submitted a
detailed report to the Ministry of Culture soon after she returned, in which
she explained the importance of Pan and her art. In 1985, an expert group
was sent to Paris to receive the art works Pan donated. The works were
primarily stored in the provincial museum of Anhui, in which her husband's
hometown is located.
Since 1985, a number of selected works by Pan Yuliang have been exhibited in
more than 20 Chinese cities, including Hefei, Anqing, Shanghai, Guangzhou,
Nanjing, Changsha, Wuhan, Tianjin, Chongqing and Taipei. The exhibitions
stimulated great interest in the public, to the point her legendary life
became the centre of concern.
"Pan Yuliang has become a household name in China today because of her
extraordinary life," remarked Tao Yongbai, an art critic from the China
National Arts Academy and co-author of the book "Lost Memories: A History of
Chinese Women Painters." However, some people are often interested in her
legendary past as a prostitute and concubine but have little knowledge she
was one of the outstanding woman artists in China's early Western painting
movement, Tao noted.
"When Pan returned to China in 1928, she had already impressed the art
circle with her passionate brushwork and bold application of strong colours,
as the newborn oil paintings in China then were still lacking in the sense
of colour."
After she returned to Paris in 1937 again, she studied the interaction
between oriental art and Western modern art with growing interest in
traditional Chinese arts, such as ink painting and calligraphy, according to
Yu.
In her oil paintings of the 1940s - among them "Self Portrait" (1940) and
"Woman with A Hat" (1940) - the bright and expressive colours still exist
but the outlines are often calligraphic, reminiscent of Chinese literati
painting.
The expressiveness and simplicity of images and lines became even more
distinct in her figure paintings from the 1950s to the 1960s - reportedly
the best part of Pan's art. The subject of these paintings are basically
nude women. The outlines of the figures are usually sketched with a few
exact and neat calligraphic touches in black. The backgrounds, however, are
painted with solid and accumulated brushwork to create a contrast with the
simple figures in the forefront.
Her ink painting "Woman Figure" (1963) is the best example of blending
oriental linear beauty with figurative techniques of Western painting. The
flowing, calligraphic lines add to the tenderness of the image but build up
an effect of sculpture, rarely seen in traditional Chinese painting.
Noticeably, a few oil paintings by Pan in the 1950s focus on the subject of
Chinese folk customs, and the influence of folk arts is apparent. In "Fan
Dance" (1955), the two exhilarated women dancers in blue and red wave paper
fans in their hands. Their vibrant movements and the composition are
reminiscent of certain painting by Henry Matisse.
Being a highly innovative artist, Pan was always ready to experiment. As one
of the best Chinese female artists, Pan has every reason to rank with her
male counterparts, including Xu Beihong and Liu Haisu, in Yu's view.
"Most of Pan Yuliang's work focuses on the subject of women and often
reflects a sorrowful feeling of being hurt and a desire for a warm family
life," said Tao. "In her self portrait series, the woman image is always
elegant and self-respectful, yet with an expression of rage and complaint
over fate."
The self portraits under Pan Yuliang's own brush, or her art in general,
might best tell who she really was like and explain her success and tragedy.
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