248:’s (1897-1971) bird and flower landscapes where he described ‘Bathed in Dew’ as poetical and ‘After the Rain’ where he mentions for example, “...the crimson flowers with their stately leaves appear pure and noble, lovely and gentle and above all lyrical in their beauty”. He uses strong imagery. According to Yide “ ...If we want to exhibit our national heritage, I believe, landscape painting is the most suitable subject. Chinese landscapes in every place possess indigenous Chinese traits.
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As a writer, Ni Yide used his considerable literary skills to defend stylistic innovation and personal creativity as the essentials for a modern art in modern China. In the 2nd national art exhibition of China, Ni Yide criticized the judges for their conservative bias, and dismissed "official art"
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at the
Shanghai Art Academy. They published l'Art Journal, which provided a venue for its manifesto and most of its exhibition news. One of his paintings, ‘'Summer’' (1932) was cubist-inspired. In 1941, Ni set up Nitian Studio in Chongqing.
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The Storm
Society wanted to be unrestrained by past conventions in art such as limitations by nature. They said that art is not a slave of religion or literature. The storm society exhibited works inspired by European styles such as
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attacks, Japanese encroachment caused the 10 members of the Storm
Society to flee south. In 1944, he became a professor at NAA in Chongqing. In 1945 Ni Yide,
207:(1902-1978), and a few other artists exhibited their works at the Chinese Modern painting exhibition (Zhongguo Xiandai huihan zhan) organized by
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Art School. He became a professor at the
Shanghai Art Academy upon his graduation. He continued his studies in Western art and art history in
244:(1906-1958), a Storm society member who received criticism from realists for a still life of flowers she painted. He wrote an article on
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with the argument that in France real progress always came outside of the government salon. Ni Yide wrote an article defending
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219:, Yide became part of the nine person art society in Shanghai. In 1949, Ni became a professor and vice president of ZAFA (
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227:) China. In 1955, Ni became a director of the editing department of Meishu. In 1961, Ni set up a studio in ZAFA,
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128:). By 1930, he was an art critic, theorist, and creative writer, as well as an oil painter. In 1931 Ni,
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to promote modern
Western art's influence on Chinese art. Ni Yi-de helped write the group's manifesto.
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Modern art in Africa, Asia and Latin
America : an introduction to global modernisms
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Modern art in Africa, Asia and Latin
America : an introduction to global modernisms
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Modern art in Africa, Asia and Latin
America : an introduction to global modernisms
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He graduated in 1922 from the earliest training ground for modern
Western art in
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451:. Wiley-Blackwell. pp. 121, 254, 257–260, 262–264, 266–277 & 279.
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The modernization of
Chinese art: the Shanghai Art College, 1913-1937
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120:. There, he taught at Gangzhou Municipal Art School, then at the
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Modern Chinese artists : a biographical dictionary
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Modern Chinese artists : a biographical dictionary
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Post impressionists in Pre-War Shanghai: The Juenlanshe
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The winking owl: art in the People's Republic of China
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418:. University of California Press. p. 119.
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223:). In 1953, Ni transferred to teach at CAFA (
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132:(1906–1985), and five other
126:Hubei Institute of Fine Arts
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414:Sullivan, Michael (2006).
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88:(1901–1970) was a Chinese
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300:O'Brien, Elaine (2012).
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333:Crozier, Ralph (1993).
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573:Chinese male painters
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136:painters formed the
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134:modernist
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229:Hangzhou
215:. After
182:Meishije
178:Liangyou
174:Shanghai
162:futurism
118:Shandong
106:Shanghai
76:Movement
56:painting
146:Fauvism
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60:writing
46:Chinese
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29:1901
26:Born
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