Pan Yuliang

Pan Yuliang
Native name 潘玉良
Born (1895-06-14)14 June 1895
Yangzhou, Jiangsu, China
Died 22 July 1977(1977-07-22) (aged 70)
Paris, France
Resting place Montparnasse Cemetery, Paris
Nationality Chinese
Other names Zhang Yuliang, Chen Xiuqing, Pan Shixiu
Education Hong Ye, Zhu Qizhan, Wang Jiyuan
Alma mater
  • Shanghai Fine Arts School
  • Institut Franco-Chinois de Lyon
  • École Nationale des Beaux-Arts de Lyon
  • École Nationale des Beaux-Arts de Paris
  • Accademia di Belle Arti, Rome
Occupation Painter
Known for Being the character in A soul Haunted by Painting 画魂 (1994 movie), Pan Yuliang (1990 TV series)
Notable work Female Nude (女人體)
Television Is the character in A soul Haunted by Painting 画魂 (1994 movie), Pan Yuliang (1990 TV series)
Awards
  • Female Nude receives the Roman International Art Exhibition’s Gold Prize
  • Paris Gold Prize
  • L'art Libre Confédération Française. Salon International Prize
  • Gold Medal, French Cultural Education Prize"
  • Arts-Sciences-Lettres Prize
Pan Yuliang
Traditional Chinese 潘玉良

Pan Yuliang (Chinese: 潘玉良, 14 June 1895 – 1977), born in Yangzhou as Chen Xiuqing, and was renamed Zhang Yuliang (張玉良) when adopted by her maternal uncle after the early passing of her parents.[1] She was a Chinese painter, renowned as the first woman in the country to paint in the Western style. She had studied in Shanghai and Paris. Because her modernist works caused controversy and drew severe criticism in China during the 1930s, Pan returned to Paris in 1937 to live and work for the next 40 years. She taught at the École des Beaux Arts, won several awards for her work, had exhibits internationally in Europe, the United States and Japan, and was collected by major institutions. In 1985 after her death, much of her work was transported to China, collected by the National Art Museum in the capital of Beijing, and a few are collected by the Anhui Museum in Hefei, the capital of Anhui Province. Her life as an artist has been portrayed in novels and film in China and the United States. Her art evolved within the flux of transformations where conflicting dichotomies of East and West, tradition and modernity, male chauvinism and emerging feminism co-existed.[1] Pan is also figured as who engaged with labels, such as " contemporary/modern," " Chinese," and " woman" artist, while questioning them.[2]

Life

Early life and education

Zhang Yuliang was born in 1895 in Jiangsu Province. After the death of her parents when she was 14, she was sold by her uncle to a brothel, where she was raised to become a prostitute. She attracted the attention of Pan Zanhua,[3] a wealthy customs official, who bought her freedom. He married her as his second wife and helped with her education; she adopted his name as her surname.[3] In one of her letters to her family members, she stated her will and signed as Panzhangyuliang (Chinese: 潘張玉良). This letter can be taken as a legal document, where she used Panzhangyuliang as a signature. Therefore, Panzhangyuliang is the name that she acknowledged and preferred.[4]

They moved to Shanghai, where she passed the exams to enter the Shanghai Art School in 1920,[5] where she studied painting with Wang Jiyuan. After graduating from there, she went to Lyon and Paris for further study, sponsored by Pan Zanhua. In 1925, she won the prestigious Rome Scholarship to study at the Accademia di Belle Arti in Rome in Italy.[3][1]

Career

In 1926, Pan Yuliang won the Gold Prize for her works at the Roman International Art Exhibition. In 1929, Liu Haisu invited her to teach at the Shanghai Art School and she returned to China. She had a solo exhibit in Shanghai, where she was honored as the first Chinese female artist to paint in Western style. She was also invited to be an art professor of the National Central University in Nanjing. She gave five solo exhibitions in China from 1929 to 1936.

1930 nude

Her work was severely criticized by government officials and conservative critics - in part because she painted of nudes,[3] however, she and the fellow woman painter Guan Zilan became favourites in the art world of the Republic of China (1912–49). Women artists trained in Western style, such as Pan and Guan, captured the fascination of the public, and were accepted as the embodiment of modernity.[6] Pan is also appraised that she drew readily from the techniques of Chinese ink painting while subtly undermining the authority of that tradition in relation to the European art tradition.[2]

Pan left Shanghai for France in 1937, and settled in Paris.[7] There she won some acclaim. After moving to France to pursue her work, Pan joined the faculty of the École des Beaux Arts.

She worked and lived in Paris for the next 40 years. Chinese expatriate artists in France elected her the chairman of the Chinese Art Association. Her works were exhibited internationally, especially in the United Kingdom, United States, Germany, Japan, Italy, Switzerland, Belgium and Greece.

Pan died in 1977 and was buried in the Montparnasse Cemetery of Paris.

In 1985, many of her works were returned to her native country, where they are held by the National Art Museum of China in Beijing and the Anhui Provincial Museum in Hefei.

Legacy and honors

  • 1926, her works won the Gold Prize at the Roman International Art Exhibition.
  • 1959, she won the Paris Gold Prize and the Belgium Silver Prize.
  • Her story is loosely told in the novel Hua Hun (A Soul Haunted by Painting) (1984) by Shih Nan. It was adapted as the Chinese film by the same name, which was released in 1994 starring the actress Gong Li as the artist.
  • Jennifer Cody Epstein's novel The Painter from Shanghai (2008) is based on Pan Yuliang's life, and has been translated into fourteen different languages.

Marie Laure de Shazer, specialized in Chinese language, wrote a book about Pan Yuliang, "Pan Yu Liang, La Manet de Shanghai". She depicted how Pan Yuliang became a great painter like Manet in France. Her novel is based on the life of Pan Yuliang in France and in China.

  • Her life story is re-enacted in the 2004 TVB drama Painting Soul where her role was played by Michelle Reis.

References

  1. 1 2 3 PHYLLIS, TEO (2010). "MODERNISM AND ORIENTALISM: THE AMBIGUOUS NUDES OF CHINESE ARTIST PAN YULIANG". New Zealand Journal of Asian Studies. 12, 2: 65–80.
  2. 1 2 Park, Elissa H. Negotiating the Discourse of the Modern in Art: Pan Yuliang (1895–1977) and the Transnational Modern. Diss. University of Michigan, 2013. Web. Accessed on 16 March 2017.
  3. 1 2 3 4 "Pan Yuliang's painting of bathing nudity", China Daily, 11 Nov 2006, accessed 1 January 2008
  4. ↑ Dong, Song (2011-02-06). "女画家潘玉良姓名考-新闻-华东站 -雅昌艺术网". huadong.artron.net. Retrieved 2017-03-08.
  5. ↑ Zheng, Jane (2007). "The Shanghai Fine Arts College: Art Education and Modern Women Artists in the 1920s and 1930s". Modern Chinese Literature and Culture. 19 (1): 206.
  6. ↑ Pickowicz, Paul; Shen, Kuiyi; Zhang, Yingjin (2013). Liangyou, Kaleidoscopic Modernity and the Shanghai Global Metropolis, 1926–1945. BRILL. p. 206. ISBN 978-90-04-26338-3.
  7. ↑ Sullivan, Michael Art and Artists of Twentieth Century China ISBN 978-0-520-07556-6 p. 38
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