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Thursday, June 10, 2021

HUNG, Liu Chiu Amway

EPISODE THEME 

Painting x3

 SUBJECT

Hung Liu

GRADE RANGES  

K‐12 & Post‐secondary  

CURRICULUM CONNECTIONS

Visual Arts & Language Arts

OBJECTIVE 

Helping pupils grasp the evolution of personal art works and their connections to bigger social themes and ideas, abstract notions,

And art history, looking at, making,

Talk and write about artworks  

HUNG, Liu Chiu


ARTIST PROFILE 

San Francisco painter Hung Liu mixes Western and Chinese traditions to create portraits of regular people lost in the

History sweep. SPARK visits Liu's studio asShe works on a new canvas seriesNew York's forthcoming show.Liu was born in China in the 1940s.

Mao Tse Tung's Cultural Revolution. AsA young woman, Liu was sent away to workVillage and learn Chinese misrepresentation

History in her "re-education." Four years ofShe later trained as an artist in Beijing.Learned to paint in Social Realist style

Could benefit the state by making massiveMao's mural and other prominentCommunist Party members. After years

Working as China's artist and teacher, Liu: LiuImmigrated to the United States in 1984.Informing artworks from a larger perspective

History of her nation. Her work was improvedWhile Liu discovered China in 1990,Several hundred images to date

Cultural revolution that established the basis forMuch of her work. Personal photographsEra is unusual as families generally remove images

That may be used as evidence they weren'tThe proletariat.SPARK Educator's Guide Hung LiuMany of these photographs are quite rare.

Prostitutes in modest numbersDistribution to consumers. Liu updated seriesMonumentalizes anonymous young womenPictures in a style usually reserved for

Historic figures. Her canvases are renderedPhotorealistic mode reflecting her workCommunist Party, yet populated by

Individuals, rather than the thingHistory subject. The works' photorealismFurther tempered by Liu's dilution approachLinseed oil paint, then drizzled onto
Political personalities. Historically, both styles of painting have been utilised to disseminate people in power's beliefs and ideas. Liu usurps commonplace

Intention of these practises, usingTypical approaches to memorialise orCelebrate political or historical figuresTo highlight those disenfranchised by

Society, denying political representation.History painters portrayed subjects from the WestMythological or biblical sources, usually in

Secular frameworks serving contemporariesAllegories. Allegories. This design was particularly popularMid-seventeenth to late nineteenth

Centuries, when art was deemedEurope's highest form of academiesHighly realistic style and painting
Philosophical intent. History painting

Followed by genre-painting (scenes)From daily life) and landscape painting,Life at the bottom of the list

History painting can address a multitude of topicsMythological or biblical historical events,Although frequently as allegories serving

Secular contemporary surroundings. From the EarthSeventeenth to late nineteenth century,Arts considering history painting

Academies in Europe leading the hierarchyPainting, genre painting following (Everyday situations representation), and

Landscape, with still life at the bottom.In the late eighteenth, early nineteenth,History was often painted in a neo-painter

Classic style, as in Jacques-Louis David,Known 1784 Horatii artwork. The The ThePainting represents the Horatii brothers.

Fighting the Curiatii to save RomeAvoid a full-scale war. Even though all three will beKilled, they challenge courageously without fear

For their life. Painted just before the turmoilFor the French Revolution, classical canvasSubject matter and stances to suggest

Contemporary morality of civic responsibility. The The ThePainting in the formal Neo-classicalStyle; figures, realistically portrayed,

Like players on stage, set in an austereArchitectural set-up. Many of these featuresWould be adopted by Stalin's official

Communist style, comprising style, realismUsing motion to imply clear meaning.Such historical painting remains

Europe's popular 19th-century upheavalsDominance challenged the early 20th century. During the period1918 Soviet Revolution, historical painting

Rejected for non-objective, abstractPainting. Painting. Soviet revolutionaries felt theTraditional method of depicting history

Leaders and imperialist expansion...Unfit to represent the spirit ofRevolution. Revolution. The Soviets sought to re-invent it

Visual language for historical representationEvents, events. Their early years of revolutionUsed abstract, geometric compositions

Events and spirit of the emerging Soviet state,Lissitzky's 1919 poster Beat the WhitesWedge. Wedge.Jacques-Louis David, Horatii, 1784.

El Lissitzky, Beat the Whites, Red Wedge, 1919.When Stalin came to power in the 1930s,Stop non-objective painting and make

Photorealism the official state stylePropaganda then used by Mao TseTung's 1950s Communist China. The style ofWas routinely utilised in unabashed glorifications

Leader, people's allegoriesSupporting him,And celebrating the work as examplesIndividual's contribution to state achievement.

Under the graphic, unattributed poster,A man, a manSatisfied as he fights hard for his nationBullets flying past him. Since state artists were compelled

To produce these masterpieces on a huge scale,Worked regularly from pictures.Divide into grids, reproduce as large-scaleWall pictures.

Liu's training in political propagandaPainting informs her work today, whichSmall photography images onA big one

Scale. Scale. The stable tranquilly of theLiu's paintings mimic the oldChinese photography portraits used asSource material, proving remarkable

Early photographic conventions resemblanceWestern and Eastern. Intense colours, symbols(Fruits, animals, Chinese characters...)

Liu's iconographySeveral picturesTraditions, including art Western historyChinese landscape, commemorative portrait

Painting. Painting. In both Western historiesChinese landscape painting, symbolsExtending particular morals or values To viewers or to symbolise the values

Possessed by persons in the paintingOr those that commissioned it Masters.
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