167:, joined the Post-Impressionistic and Expressionist group. Between 1931 and 1935 the Storm Society held four exhibitions. The Storm Society's Manifesto claimed they were suffering under the stationary ways of the old society and had to escape. In October 1932 they printed this Manifesto, imploring "Let us rise up! With our raging passion and iron intellect, we will create a world interwoven with color, line, and form!" Pang himself said in retrospect there were several reasons for the advent of the group, "firstly, the members were all discontented with reality... secondly, everyone wanted to create a new road in art, and no one had the strength to do this individually... and thirdly, none of these people wanted to be dependent on powerful people."
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Beaux-Arts after his time at the Académie Julian. He began using
Chinese ink brushes to sketch after observing Chang using the same technique. This technique supported Pang's desire to meld European modernism with traditional Chinese sketch conceptualism, in spite of many of his contemporaries resurrecting the Chinese tradition as an alternative to modernism. Most of Pang's work at the time was portraiture, self or otherwise.
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Pang spent over a year at the Académie Julian learning technical skills through live sketching, and receiving critiques from teachers at the prestigious École
Nationale des Beaux-Arts. Influenced heavily by fellow artist Chang Yu, Pang followed Chang's advice not to enter the École Nationale des
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in 1932. During wars in the 1930s to early 1940s, Pang was forced to move frequently, all the while teaching and painting. In 1936, after the disbandment of the Storm
Society, he taught at the Beiping Art Academy. He founded the Central College of Arts and Crafts in 1953, China's first arts and
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Pang returned to China in 1930 to a divided nation that valued
European academic realism over modernism. He returned to his hometown to study book on Chinese art history and theory, finding it difficult to return to a country which he had spent the past five years in no contact with. Pang held
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as his favorite artist because of his impulsivity in rejecting his own previous styles in favor of the search for new ways of expression. He valued technical skill, but acknowledged the decreased need for it as photographs became more popular. Above all, young Pang praised self-expression.
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at eleven. He studied medicine in
Shanghai from 1921 to 1924 after being told by a foreign priest that the Chinese could never become great artists. In September 1925, Pang moved to Paris to study oil painting at the
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and gave "traditional decoration art a modern context." Pang was also a co-founding member of the Storm
Society, which aimed to bring a Parisian-style art world to China. He was greatly inspired by the French
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at the age of 19, following fellow patriots such as Xu
Beihong. At the time, Paris was at the epicenter of newfound artistic trends, from Cubism to Fauvism, and was flocked to by foreign artists.
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Pang painted with a lyrical sensitivity. He believed in the freedom of an artist and the necessity of changing one's painting as one gained new experience and knowledge. He often quoted
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O’Brien, Elaine. “Modern Art in Africa, Asia, and Latin
America : an Introduction to Global Modernisms.” Chichester, West Sussex ;: Wiley-Blackwell, 2013.
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Later in life, facing wars, Pang would come to call his stress on individuality "superficial," remarking instead on the power of art against oppression.
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to a landlord family. Demonstrating an inclination towards color and design at a young age, he started learning about the
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Pang Xunqin (1906-1985) – A Chinese Avant -Garde's
Metamorphosis, 1925-1946, And Questions of “Authenticity”
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300:(Order No. 3391363). Available from ProQuest Dissertations & Theses Global. (304918778).
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Studies on
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163:; an artist, critic, and writer. Three other artists, including
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335:, Ravenel International Art Group, 2014, retrieved 6 June 2016
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In 1984, he completed his memoir, which was published by
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234:, University of California Press, retrieved 6 June 2016
232:Modern Chinese Artists: A Biographical Dictionary
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347:, Tina Keng Gallery, 2016, retrieved 6 June 2016
109:, Pang was banned from teaching during China's
105:crafts institute. However, as a result of the
209:, Cultural China, 2014, retrieved 6 June 2016
207:Pang Xunqin: The Famous Painter from Changshu
46:painter and teacher who, after studying in
382:Art and Artists of Twentieth-Century China
144:In 1931, Pang co-founded the avant-garde
42:; June 20, 1906 – March 18, 1985) was a
384:. University of California Press, 1996.
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258:A history of art in 20th-Century China
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403:Summary of artistic career
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219:Pang Xunqin (1906-1985)
434:Académie Julian alumni
361:Modernity in Asian Art
128:that year. He died in
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413:Categories
194:References
178:Philosophy
157:Juelan She
63:Early life
59:movement.
306:304918778
274:630503009
302:ProQuest
16:In this
184:Picasso
161:Ni Yide
130:Beijing
69:Jiangsu
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