Venue: Gallery 1-4, Guangdong Museum of Art (Ersha Island)

Supervised by: The Publicity Department of the Guangdong CPC Provincial Committee, The Department of Culture and Tourism of Guangdong Province

Organizer: Guangdong Museum of Art

Co-Organizers: Guangdong Artists Association, Guan Shanyue Art Museum

Associate Organizers: Memorial Hall of Lingnan School of Painting, Guan Shanyue Arts Foundation

Supporters: National Art Museum of China, Guangzhou Museum of Art,

Art Museum of Guangzhou Academy of Fine Arts

Curators: Wang Shaoqiang, Chen Junyu

Academic Advisors: Guan Yi, Guan Jian，Zhu Wanzhang，Li Jinkun,Li Weiming, Chen Xiaoyang, Lin Lan, Luo Qi, Liang Jiang, Pan Yikui（Sorted by the stroke count of surnames）

 

 

Jointly organized by the Guangdong Museum of Art and the Shenzhen Guanshanyue Art Museum, this exhibition marks the inaugural major showcase in the Masters Series of Reform Mission: Guangdong Art Centennial Exhibition. Building upon the foundational framework of the "Three-Dimensional Art History" permanent display at the Guangdong Museum of Art, this thematic research project aims to continuously expand and solidify the academic depth of Guangdong's art history through the lens of individual case studies. This solo exhibition unfolds around a core proposition: When an artist treats his own name as an artistic methodology, how does "journeying" (Xing) crystallize into painting? How does the "wind" (Feng) traverse the mountains? And how is "ten thousand miles" (Wanli) encapsulated within a piece of work that can be hung, unfurled, and gazed into from afar? Featuring over 110 works, the exhibition adopts "journeying" as its primary narrative axis, dual-weaving chronologically and geographically across four distinct sections: "Traces in the Western Frontiers" reconstructs the artist's formative path from 1932 to 1944, spanning his early apprenticeship at the Spring Awakening Academy to his pilgrimage to the ancient grottos of Dunhuang; "Travelogues of the Human World" focuses on his travels across North and South China and his early plein-air sketches for New China between 1946 and 1957, specially integrating his 1957 Liling and Mount Heng sketching series—nearly twenty landscape and bird-and-flower sketches that together form an unprecedented "rural diary" of Guan Shanyue; "New Formations from Foreign Mountains" examines the period from 1956 to 1978, exploring how his journey to Poland, the Jinggang Mountains series, and revolutionary landscapes reconstructed spatial structures amidst new subject matter; "The Mastery of the Late Brush" centers around monumental works such as The Roaring Wind in the Pines Whirling the Emerald Waves, and culminates with his final masterpiece from 2000, the year of his passing, The River Banks Widen as the Tide Rises; The Sail Hangs Straight as the Wind Blows—this once-"invisible" work from the collection of the Lingnan School of Painting Memorial Hall borrows its title from Wang Wan’s classical verse, resonating as the master’s final adieu to the world through his brush and ink.

 

关山月

纸本水墨

141cm×202cm

1973年

中国美术馆藏

 

关山月

纸本水墨

94.5cm×57cm

1962年

岭南画派纪念馆藏

 

关山月

纸本水墨

178cm×94cm

1954年

中国美术馆藏

 

关山月

纸本水墨

34cm×45cm

1942年

关山月美术馆藏

 

关山月

纸本水墨

84cm×96.5cm

2000年

岭南画派纪念馆藏

 

关山月

纸本水墨

129.5cm×28cm

1932年

关山月美术馆藏

 

关山月

纸本水墨

43cm×32.5cm

1957年

岭南画派纪念馆藏

 

关山月

纸本水墨

28cm×22cm

1943年

关山月美术馆藏

 

 

 

 

关山月与傅抱石共同为北京人民大会堂创作《江山如此多娇》。曾为国务院紫光阁作《轻舟已过万重山》，为联合国中国厅作《报春图》，为全国政协礼堂作《黄河魂》。代表作尚有《山村跃进图》《俏不争春》《碧浪涌南天》等。出版有《关山月画集》《关山月作品选集》《乡土情》《山河颂》等。