开幕式:2011年3月12日，上午10:00
开幕式地点:中国美术馆中厅
展览时间:2011年3月12日 至 2011年3月19日
开放时间:每日上午9：00时至下午17：00时
展览地点:中国美术馆2号与3号厅（北京市东城区五四大街1号）
研讨会时间：2011年3月12日，上午11:00至13：00
研讨会地点：中国美术馆七楼学术厅
主办单位：中国美术家协会，清华大学美术学院，中国老教授协会文艺专业委员会
承办单位：北京超城建筑设计有限公司
协办单位：北京超城空间
学术主持：梁江
策展人：王明贤
统筹：方旭东
Opening Reception: 10:00 AM, March 12th. 2011
Exhibition: March 12th. 2011 – March 19th. 2011
Venue: National Art Museum of China
Opening Hours: 9:00-17:00
Forum: 11:00-13:00, March.12. 2011
Venue: Conference Hall, the 7th. Floor of National Art Museum of China
Organizer: China Artists Association, Academy of Art & Design-Tsinghua University, Culture and Art Committee of Chinese Reputed Professor Association
Sponsor: CU Office (Beijing) Architectural Design Co., Ltd
Co-Sponsor: CU Space (Beijing)
Academic Host: Liang Jiang
Curator: Wang Mingxian
Co-ordinator: Fang Xudong
张立国
清华大学美术学院教授, 中国老教授协会文化艺术专业委员会委员，中国美术家协会会员，北京市美术家协会会员，中国油画展第一届（1987年），第二届（1994年）中直系统评审委员，国家教委考试命题中心命题教师。
1939年出生，1960年毕业于中央美术学院附中，1965年毕业于中央美术学院油画系。从1979年起任教于中央工艺美术学院（清华大学美术学院）。从1960年代起，张立国的绘画作品大量参加国内外的各种展览，并多次被选入全国美展。如，1964年参加在中国美术馆举办的第4届全国美展；1979年参加在北海公园展出的北京美协画展；1985年参加在日本宫崎综合博物馆展出的中日友好现代美术展；1986年参加在中国美术馆举办的《当代油画展》；1987年参加上海举办的第一届《中国油画展》；1990年张立国在北京欧美同学会举办个人画展。自2000年后，张立国常年在欧洲举办个人画展。例如：2002年在德国卡塞尔的施菲尔特皇宫举办张立国个人画展；2004年在德国柏林的鲁道尔夫画廊举办张立国个人画展；2008年在德国魏玛市政厅美术馆举办“宁静的力量-张立国画展”。此外，作为学者型艺术家的张立国还发表了许多论文，如《抽象，科学，艺术， 文明》，《不可避免的选择》，《世纪末的兴奋》，《科学在我心中也是艺术》等，并著有专著：《绘画色彩观念演变》。
展览主题陈述：
此次在中国美术馆举行的展览，是张立国先生近年来首次举办的个人大型回顾展。展览的作品将会包括其艺术创作生涯各个时期的主要作品。作品将以油画为主，同时包括少量素描，水彩或手稿等。张立国先生的绘画艺术创作大致呈现为5个时期：[1]超越政治的美术1950年代-1977年；[2]解放的美术1978-1984年；[3]自律的绘画1985-1992年；[4]新美学1993-1999；[5]日常的艺术2000至今。这五个不同的时期既具有各自不同的鲜明的时代风格，同时也具有强烈的连续性的艺术家个人特征。这五个时期既体现了艺术家个人艺术思考与创作风格的演变，同时也展现了新中国现代绘画的各个主要时期的发展历程。此次展览不仅对于艺术家个人具有重要意义，同时对于中国现代主义绘画的形成与发展具有重要意义。张立国在其绘画创作中坚持独立的探索，始终坚持独立的个人价值，将中国文化与西方现代绘画相融合，自然的形成了具有个人风格的中国现代主义绘画。实际上，他始终没有放弃思考与探索，不断地将绘画艺术的自律性，中西美学的文化传统与艺术家个人的日常生活结合在一起，创作出跨越时代的作品。张立国先生的作品罕见的跨越了新中国美术发展的各个历史时期，以自己的方式创造了中国的现代主义绘画。
实际上现代化成为这一代艺术家的宿命。张立国先生的中国经典现代主义绘画的形成与发展，对于理解中国当代艺术和整个新中国绘画艺术发展史都有帮助意义。
Theme of the Exhibition:
The exhibition is the first individual retrospective exhibition held by Zhang Liguo in recent years. The works exhibited are the major paintings in different periods of his artistic career. And the number of the total works will be over 300. The works are mainly oil paintings, and there are also some sketches, watercolors or manuscripts and so on. The artistic creation of Zhang Liguo presents itself in five periods: (1) beyond the politics’ fine art from 1950s to 1977; (2) emancipator painting from 1978 to 1984; (3) autonomous painting from 1985 to 1992; (4) new aesthetics from 1993 to 1999; (5) paintings of daily life from 2000 to now. The five different periods bear unique and obvious styles of the ages, and they also share the strong continuity of personal features of the artist. The five periods represent the evolution of the personal artistic thinking and creation mode of the artist, and also exhibit the process of the development of modern paintings in the major periods after the founding of the People’s Republic of China. The exhibition is of great importance to the artist, and it is also of great value to the forming and development of modern paintings of China. Zhang Liguo insists independent exploration in his paintings; he insists independent personal value, merges Chinese culture with western modern paintings, and forms the modernism painting of China with personal features naturally. As a matter of fact, he never gives up thinking and exploration, he keeps combining the autonomy of the painting art, the cultural tradition of Chinese and western culture and the daily life of the artist, and creates works that transcend time. It is rare that Zhang Liguo’s works transcend the historical periods of the artistic development in the history of the People’s Republic of China, and he creates the modernism paintings of China in his own way. In fact, modernization is the destiny of the artists of the generation. The forming and development of the classic modernism paintings in China of Zhang Liguo is helpful to the understanding the contemporary art and the development of the art in China.
评论：
张立国已入古稀，属以社会主义现实主义为圭臬的教育环境中成长起来的那一代艺术家。那代人，由于艺术生命生长的关键时期处于半封闭的文化环境中，艺术营养严重不良，艺术发育严重障碍，因此，当国门打开现代艺术大潮涌起时，其处境大都尴尬，只有少数人顺利完成了艺术的现代转型，张立国便是其中一位具有代表性的油画家。
刘骁纯（艺术批评家）
张立国是一位具有独立思想的学者型艺术家，儒雅的外表下“潜伏”着叛逆的现代意识。他在特殊的年代里研究现代主义绘画，经多年探索寻找到自身的美学叙事逻辑和发展脉络，是1980年以来中国现代艺术发展史上不容忽视的重要画家。从80年代到今天，张立国始终站在探索的前沿，创作了大量具有学术价值的作品，成为现代主义学院派的杰出代表人物。
王明贤（艺术史学家，批评家和策展人）
张立国创造的是一个繁复的绘画世界，这个绘画世界力图将画画本身凸显出来，将画画的复杂感受凸显出来。绘画不是要画出什么历史，而是要画出绘画的诸种语言。张立国持续了数十年的绘画形式主义探索，是一个激进的然而也是一个寂静的形式革命。
汪民安（哲学家，艺术批评家）
Zhang Liguo is already over seventy years of age, and he is one of the artists who grew in the educational environment with the criteria of realism. The generation was undernourished in terms of arts and was handicapped in artistic development as their critical growth period of artistic life was among the half closed cultural environment; as a result, when the country was open to the outside world and the modern art flourished, the situation was awkward that only a few of them succeeded in to transition to the modern art. Zhang Liguo is one of the representative artists among the few. Liu Xiaochun Zhang Liguo is a scholarly artist with independent thoughts, with rebellious modern ideas hiding behind the elegant appearance. He studied modernism painting in the special historical period, and he found his own aesthetic descriptive logic and development principles with years of exploration, and he is a very important artist in the history of modern art development in China since 1980. From 1980s till now, Zhang Liguo is in the leading place of exploration and created many works with academic value, and becomes the outstanding representative of modernist academic school.Wang Mingxian What Zhang Liguo created was a complicated world of painting, which tried to highlight the painting itself, and the complicated feelings of painting.Paintings are not meant to draw history but the languages of painting. The decades long formalism exploration in painting of Zhang Liguo is a radical but also a silent form revolution.Wang Min’an
张立国的现代性绘画艺术
作者：车飞 （德国包豪斯大学博士候选人）
1949年新中国成立标志着中国艺术进入到社会主义革命的艺术史范畴。美术作为一个五四时代被提出的词汇在此后的岁月里被赋予了强烈的意识形态和政治使命感。从1949年到1979年的社会主义革命的30年中，苏维埃的艺术服务于政治的艺术理论作为先进思想始终是中国艺术学习的榜样。张立国在1950-1960年代所接受的中央美术学院及附中的系统训练和教育并没有将他锻造成为一个先进政治的绘图者。在一个革命的年代中，张立国的艺术作品体现出的是远离政治题材的纯粹的美。尽管现在看来，他那个时期的作品仍旧属于写实主义绘画，但是仔细的阅读会发现，他的作品没有主题性的框架，没有政治上的观点阐述，也没有现实主义的社会生活的歌颂。他的作品是由松散的风景，记忆和想象中的人物所构成。对比他1965年中央美院油画系毕业创作《广阔天地》的素描稿和油画稿，可以发现在素描稿中的人物处于画面的中心位置，表现丰收的场景符合当时的政治要求；而油画稿中人物给降低到十分次要的位置，画面的中心成为色彩缤纷的天空，原来处于中心位置的人物成为画面风景的前景，因而变为中景河流与山坡还有远景天空的点缀。这样的处理，使得画面的主题性被瓦解为色彩与形式的自主性表达。政治的敏感性让位于纯粹的美，美术在这里超越了那个革命时代的政治，回归到现代主义艺术的传统之中。也许在那个时代，对美的简单追求和表达本身就需要极大的勇气和甚至是对命运做出的挑衅。
1978年对于中国是一个承前启后的年代，它标志着建国以后30年的社会主义革命时代的终结，也是中国革命开放时代的开始。自1979年起，中国的大学经过文化大革命之后又开始重新招生，张立国也在这一年开始任教于中央工艺美术学院。从1978年开始，中国进入了激动人心的革命开放的时代。与外界几乎完全隔绝的中国社会突然开放，昔日意识形态的敌人，现在成为了中国现代化发展的良师益友。尽管在政治经济层面上，这一政策的过程显得小心翼翼，用邓小平的话就是“摸着石头过河”，但抛弃了阶级斗争的政治枷锁的中国人已无法掩饰心中的狂喜，并对未来充满了期待。由于出身问题，在10年文革中历尽艰难的张立国，在文革结束后的1978年，成功的获得了大学执教资格，并在中国最重要的艺术学院之一，中央工艺美术学院任教。在那个完全没有职业艺术家的时代，这个职位可能就是艺术家在中国面对生存最好的选择之一。政治上的解放与生存条件的改善，使得张立国有条件创作一批属于自己的独立创作。“升起安宁的曙光”就是这一时期比较代表的作品。对比几年前，那些现实主义风格的作品，灰色调，写实主义手法，和若隐若现的政治环境，现在消失了。强烈的色彩，令人眼花缭乱的抽象形式，和类似于圣母子般的母与子的永恒的人性主题，使得这幅作品同此前时期的作品形成鲜明的对比。这幅作品成为一部视觉宣言，宣布了人性的胜利和对未来的期待。在1978年至1984年间，张立国居住在北京永定门的一处简易楼里，在物质条件极其有限但是相对自由的创作条件下，他创作了一批尺寸不大的作品。作品大多色彩鲜艳，具有抽象的形式感。尽管作品的主题各异，但它们反映了这个特殊时期的先进的中国艺术的基本特征：就是从政治束缚中解放出来的中国绘画。“升起安宁的曙光”像那首脍炙人口的歌曲“在希望的田野上”一样，成为表达这个解放的最具代表性的视觉作品，并有意无意的将现代化，人性与中国美术的现实结合起来。
1985年对于中国美术发展是一个重要的历史节点。85新潮是当前人们对1985年的中国艺术的主要印象。各种艺术活动在1985年呈现出中国走向开放后的大爆发。以此为标志，中国当代艺术开始正式出现在中国艺术的舞台之上。随着一系列激烈的艺术活动与保守思想的碰撞，85新潮的先驱们在迸发出巨大的艺术能量之后，选择了不同的发展道路。由此85新潮的成果也体现在不同的方向之上。随着保守思想对资产阶级自由化的批评，85新潮的先驱们不得不做出选择，而这种个体的生存策略最终奠定了当代中国艺术发展的现状。这个策略可以被理解为三种：妥协，对抗，不合作。第一种选择妥协的艺术家试图重新回到官方艺术的范畴之中，但改革后的中国已无法给出一个清晰的意识形态的原型或精神理想，因此对苏联现实主义艺术传统的妥协，不得不放弃其中的社会批判和理想诉求的功能，转而追求写实主义，并最终形成了内容空洞的具象表现技法画。这类在文化上妥协的产物成为85新潮后官方艺术的主要内容。第二种选择对抗的艺术家或者转入地下，或者选择出国。前者形成了如圆明园画家村的地下发展模式，后者形成了出国发展的模式。他们的艺术最终发展为中国当代艺术，并走出了几名具有国际影响的旗手人物。
第三种选择不合作的艺术家试图继续85新潮的成果并将这个成果同中国的现代化发展结合在一起。在一个政治敏感但缺乏主张的年代，将艺术回归到其自主性之上，不再借助于丧失灵魂的现实主义的躯壳去表达艺术，成为这类艺术家：既与保守思想保持距离，又能够在中国的社会空间发挥积极性影响的建设性策略。而最终这类艺术家成为目前不被社会过多关注的中国现代艺术的核心力量。在这三种方式中，张立国选择了第三种方式，对艺术自主性的坚持和独立探索成为1985年到1992年期间的艺术发展的特征。张立国在1985年也积极投入各种艺术活动，如应邀参加黄山油画讨论会和参与各种展览等。在1985年之后，张立国继续架上绘画的方式，并积极探索绘画语言与方式寻求更加纯粹的艺术价值。他尝试从题材，形式，色彩，材料等方面深入探索更加纯粹的绘画艺术。如在题材上尝试人体绘画，在形式上尝试符号的语义表达，在色彩上尝试强烈对比，在材料上尝试薄色平涂等等。张立国试图在绘画结构的各个层面强化艺术的自主性，并将这种试验付诸作品表达。与此同时，张立国开始撰写其专著《绘画色彩观念演变》。这本书也是他这一时期艺术思想的体现。从1985年到1992年，张立国尝试了大量艺术创作，并为其此后的艺术发展奠定了决定性基础。自律的绘画成为了张立国在这个时期艺术发展的主题。而这种在政治上不敏感和较为温和的现代性主张，也决定了他本人此后艺术生命发展的轨迹。
随着1992年邓小平发表南巡讲话，自1993年之后，中国进入了经济高速发展和社会稳定的时期。经济发展取代了意识形态批评，在此前相对匀质的中国社会开始走向分层，经济差异开始压倒意识形态差异。经济上比较匀质的和充满启蒙色彩的思想大解放的1980年代逐渐远去。在黄金的80年代产生的第一批职业或者更准确的说法是独立艺术家，在1990年代不得不面对严峻的生存压力。一旦脱离了旧有的单位，也就意味着这些人获得了创作的自由与权力，但是同时也失去了体制的保护和曾经免费获得的生活保障。在1990年代，中国的中产阶级还远未出现，艺术家试图通过社会或市场的方式获得经济来源基本难以实现。因此，在1990年代，尽管独立艺术家大量出现，但是真正的职业艺术家却难以形成规模。进入1990年代之后，张立国开始以正教授的身份在中央工艺美术学院中执教。这一点保证了他获得了并不充足但却稳定的生活来源，这保证了他有时间和精力继续从事独立的创作。经过1980年代的广泛探索之后，在1990年代，张立国开始形成自己的艺术语言。这种艺术语言建立在他此前所进行的绘画自律性的广泛探索之上，一种新美学开始形成。中国改革的目标——实现现代化，首先在张立国的绘画中实现了。这个现代化不是舶来品，而是真正建立在中国文化和艺术基础之上的现代化。张立国的绘画代表了新中国现代派绘画的最高成就，一种属于中国的现代性的美学，在他的作品中得以自然的体现。而进入1990年代之后，《影子》开始成为张立国最主要的创作主题，尽管这一主题在他此前的创作中若隐若现，但是自此，《影子》开始成为张立国新美学的最为有力的组成部分。
2000年之后，中国经济持续的高速增长开始带来了效果，大量的中产阶级开始出现，艺术品市场随之形成。中国的艺术创作进入了空前繁荣的时代。艺术家不再以盗火者或启蒙者的身份出现在社会生活之中，更多的是以职业艺术家的身份被大众认同。市场经济的发展与繁荣使得传统的知识分子难以在专业化和技术化的社会中获得生存。广泛的知识与思想被细化的专业与技能所取代，艺术家也开始受制于风格和市场。自由创作的压力更多的不再是意识形态而是市场需求。2000年后，从清华大学美术学院退休的张立国，有了更多的时间进行自己的创作。在延续了1990年代形成的美学特征之上，张立国继续探索，将这种现代性的中国特征进一步与个体性相关联。他选择的方式是将这种现代性与其自身的生活联系起来。张立国的创作主题开始更多的关注其自身的日常生活。这不仅包括平时的生活，也包括他的记忆与童年。许多主题，如《缓山》，《心中的河》等开始反复的出现，并形成了系列作品。此外，此前形成的最为重要的《影子》主题，开始更多的被注入到各种生活情境之中，《影子》开始获得更多的特征表达。更为动态与更富表情的影子成为2000年之后张立国《影子》艺术的新特征。这样，在张立国的现代绘画中，在普遍的现代性之上不仅以中国文化为基础，而且还将个人经验融合其中，从而形成了他自身的最为独特的中国现代派绘画。
Chinese Modern Art of Zhang Ligio Dr.cand. Che Fei (Bauhaus Weimar University, Germany) The founding of the People’s Republic of China represents the entry of the art of China into the category of artistic history of socialism revolution. The word “art” was endowed with strong ideology and political mission ever since. The three decades from 1949 to 1979, the artistic theory of art service of the Soviet Union was the advanced idea to be learned in the art of China. The systematic training and education Zhang Liguo received in the China Central Academy of Fine Arts and its affiliated middle school from 1950 to 1960 did not make him a painter of the advanced politics. In the period of revolution, artistic works of Zhang Liguo still showed the pure beauty away from politics. Now it looks that his works are the realism paintings, but through careful reading, it can be seen that there is no thematic frame or political elaboration in his works, and there is no extolling of the realistic social life. His works is consisted of loose sceneries, memory and imagined people. Looking at the sketches and painting of Vast Scope—his graduation works of China Central Academy of Fine Arts, it can be seen that in the sketches, people are in the centre of the picture, and the scene of harvest was consistent with the political demands of the time; but people are placed in the less important position in the painting, and in the center of the picture is the colorful sky, and the people that were once placed in the center became the front part of the scenery in the picture, thus becoming the ornaments of the river in the center of the picture and the sky in the distance of the scene. The way of painting disintegrates the theme of the scene into the free expression of color and form. Political sensitivity gave way to pure beauty, and art surpassed the politics of the revolutionary ages and returned to the tradition of the modernism art. At the time, maybe the simple pursuit for beauty and the expression cost great courage and even it was the challenge against fate. The year 1978 was the time of the link between the past and future of China, it signified the end of the three decades of socialist revolution after the founding of the country, and it was also the beginning of the age of opening of the revolution of China. From 1979 on, universities and colleges in China recruited students again, and Zhang Liguo began to teach in the Central Academy of Art and Design. From 1978, China has entered the exciting evolutionary period of opening. The Chinese society that had been almost isolated from the outside world opened all of a sudden; the once enemies in terms of ideology became the helpful teachers and friends for the modernization of China. Politically and economically, the process of the policy was prudent, in Deng Xiaoping’s words, it was like “crossing the river by feeling the stones”; but the Chinese freed from the political restraint of class struggle couldn’t hide the ecstasy and were full of hope for the future. Zhang Liguo went through many hardships as a result of his family background in the decade-long Cultural Revolution, in 1978 after the ending of the Revolution, he was qualified for teaching in the college, and he became the member of the faculty in the Central Academy of Art and Design—one of the most important artistic college in China. In the age when there was no professional artist at all, the occupation was possibly the best choice for the artists in China. With the political emancipation and the improvements of living conditions, Zhang Liguo was able to create independently. Rising—Peaceful Dawn was the representative works of the time. Compared with the realism works a few years ago, the grey colors, realism techniques and the vague political environment disappeared. The strong colors, the dazzling abstract form, and the eternal humane theme resembling the Madonna and Child contrasted the painting with those of the earlier period. The works became a manifestation of vision, declaring the victory of humanity and the expectation for future. From 1978 to 1984, Zhang Liguo lived in a simply-built building in Yongding-men of Beijing, with the limited living conditions, and the freer creation environment, he created works in small sizes. The paintings have bright colors, and there is the abstract sense of form. The themes of the works differ, but they reflected the basic features of the advanced art of China in the special period: the Chinese paintings freed from the political restraint. Just like the popular song Fields of Hope, Rising—Peaceful Dawn became the most representative visual works signifying emancipation, and combined modernization, humanity and the art of China arbitrarily. The year 1985 was an important historical point for the artistic development in China. New Trend of ’85 is the major impression of people for the art of China in 1985. All kinds of artistic activities bloomed in 1985 after China was open. It marked that contemporary art appeared on the stage of Chinese art. With the conflicts between the passionate artistic activities and the conservative ideas, the pioneers of the New Trend of ’85 chose different roads after bursting great artistic energy. Thus, the fruits of the New Trend of ’85 were reflected in different fields. With the criticism of the conservative ideas to the bourgeois liberation, the pioneers of the trend had to make the choice, and the living strategy of the individuals laid the foundation for the present situation of the contemporary artistic development in China. The strategy can be understood in three ways: compromise, confrontation, and noncooperation. The artists made the compromise tried to return to the category of official art, but in China after the reform, there was no clear prototype of ideology or spiritual ideal, so in the compromise to the realism artistic tradition of the Soviet Union, the function of social criticism and appeal for ideal had to be abandoned, and turning to the pursuit for realism, and the concrete representation skills with empty content was formed. The outcome of cultural compromise became the main content of the official art after the New Trend of ’85. The artists chose confrontation either became not public or went abroad. The former formed the under-table development mode such as the painters’ village in Yuanmingyuan, and the latter formed the pattern of developing abroad. Their art developed into the contemporary art of China and several leading figures with international reputation grew out of them. The third type of artists chose noncooperation tried to carry on the fruits of the New Trend of ’85 and combined them with the the modernization of China. In the age of political sensitivity with no propositions, returning art to its autonomy, not expressing art in the form of the realism that had lost its soul, became the the constructive strategy of the artists to keep distance from the conservative ideas and exert positive influence in social space of China. And the artists of the last type become the force at the core of the contemporary art of China, who are not paid much attention by the people. In the three ways, Zhang Liguo chose the third one, the persistence for the autonomy of art and independent exploration became the features of the artistic development from 1985 to 1992. Zhang Liguo was also took part in the various kinds of artistic activities, such as the painting symposium in the Yellow Mountain and the exhibitions. After 1985, Zhang Liguo continued the way of easel painting, and explored the language and form of painting to seek for purer artistic value. He tried to explore purer painting art through subject, form, color, and materials and so on. For example, he tried body painting in terms of subjects, semantic expression of symbols in terms of form, strong contrast in terms of color, flat painting of light colors in terms of materials. Zhang Liguo tried to strengthen the autonomy of art from the layers of the painting frame, and realized the experimentation in the works. At the same time, Zhang Liguo started to write the book Evolution of the Ideas of Painting Colors. The book was also the reflection of his artistic ideas in the period. From 1985 to 1992, Zhang Liguo tried a lot of artistic creations, and laid the decisive foundation for his artistic development later. Autonomous paintings became the theme of the artistic development of Zhang Liguo during the period. And the moderatemodern proposition of political non-sensitivity decided the developing track of his artistic life later. After the inspection speech in south China made by Deng Xiaoping in 1992, since 1993, China has entered the period of fast economical development and social stability. Economical development replaced ideological criticism, and the relatively equal society in China started to stratify, and economical differences overrode ideological differences. The first profession in the golden 80s, or the independent artists to be exact, was faced with harsh living pressure. Separated from the old units, they got the right and freedom to create, but at the same time, they lose the protection of the system and the free living guarantee. In the 1990s, the middle class in China did not appear, and it was hard for the artists to gain income from the society or the market. So, even if artists appeared in large amount in the 1990s, real professional artists did not form a scale. In the 19902, Zhang Liguo began to teach in the Central Academy of Art and Design as the formal teacher. Thus he had the insufficient but stable income; it guaranteed that he had the time and energy to proceed with independent creation. After the wide exploration in the 1980s, Zhang Liguo formed his own artistic language in the 1990s. The artistic language was based on the wide exploration into the painting autonomy he made before, and the new aesthetics formed. Modernization—the aim of the reform in China, was realized in the first place in the paintings of Zhang Liguo. The modernization was not exotic, it was the modernization based on the culture and art of China. Zhang Liguo’s paintings represented the ultimate achievement of the modern painting after the founding of the People’s Republic of China, and the modern aesthetics belonging to China is reflected naturally in his works. And in the 1990s, Shadow started to be the major theme of Zhang Liguo’s creation, the theme could be seen vaguely in his former creations, but Shadow has become the most powerful componential part of Zhang Liguo’s new aesthetics ever since. Since 2000, the constant and high-speed economic increase in China bore fruits, middle class appeared in large numbers, and artistic market formed. Artistic creation in China flourished as never before. Artist no longer appeared as pioneers and torchbearers in social life and they were accepted as professional artists by the people. The development and flourishing of market economy made it hard for the traditional intellects to live in the professionalized and technical society. Extensive knowledge and ideas were replaced by the detailed expertise and skills, and artists were confined by the style and market. The pressure of free creation changed into market demands from ideology. After 2000, Zhang Liguo retired from the Art School of Tsinghua University, and he had more time to engage in his own creation. On the basis of carrying on the aesthetic features formed in the 1990s, Zhang Liguo kept on exploring and associating the modern Chinese features with the individuality. The way he chose was to link the modernity with his own life. The theme of his creation paid more attention to his own daily life. There is daily life, and also including his memory and childhood. Many subjects, such as Smooth Mountain, River In the Heart, appeared for more than once and formed a series of works. Besides, Shadow, the most important subject formed earlier was put into different situations in life, and Shadow started to gain more characteristic expression. More dynamic shadows with more colorful expressions became the new features of Shadow art of Zhang Liguo after 2000. Thus, in the modern paintings of Zhang Liguo, the common modernity was not only based on Chinese culture; it was also blended with personal experiences, forming his most unique Chinese modern paintings.
张立国的主要展览：
1954年-1957年 在哈尔滨六中初中阶段任学校学生美术活动小组的组长曾为学校画油画：罗蒙诺索夫，门捷列夫，巴甫洛夫等科学家肖像画
1957年 在北京五十六中举办个人画展
1957年 书法作品《兰亭序》，经学校推荐，赴日本参展
1958年 绘画创作《降龙伏虎》一画被苏联苏里科夫美术学院收藏
1964年 油画《打麦场上》被选入全国美展，在中国美术馆展出
1965年 油画《广阔天地》参加在中国美术馆举行的中央美术学院毕业生作品展，同时发表在《光明日报》上
1967年 参加毛主席诗词交响乐舞台布景设计
1968年 为鲁迅博物馆创作油画《鲁迅在北大》，被鲁迅博物馆收藏，北京
1979年 参加第四届全运会团体操背景画设计，北京工人体育馆
1979年 参加北京美协画展，油画《深夜的灯光》，在北海公园展出
1979年 张立国、官其格、袁浩三人作品展，多幅油画在紫竹园公园展出
1980年 中央美院校庆展，油画《写意3号》，《写意6号》
1982年 编写三本讲义： ①大自然的美妙和我们的想象
②绘画的色彩
③形态观念的演变
1983年 中央美院附中校庆展，油画《火•太阳•人》
1985年 中日友好现代美术展，宫崎县立综合博物馆，宫崎县
1985年 应约参加中国黄山油画讨论会，黄山
1985年 油画《童年》、《胡同》，参加在日本举办的《日中现代美术展》，在东京、神户、宫崎、扎幌巡回展出
1985年 发表论文《抽象、科学、艺术、文明》，1979年撰文，1985年发表在《青年艺术家》。
1985年 发表论文《不可避免的选择——油画与现代观念》在《江苏画刊》上1985年第8期发表。
1986年 油画《升起——安宁的曙光》参加《第三届亚洲美术展》，孟加拉
1986年 油画《天长地久》，《银色的光》，《云起龙骧》参加在中国美术馆举办的《当代油画展》，北京
1986年 论文《世纪末的兴奋—对当代艺术的省察》，发表在装饰杂志，江苏画刊。
1987年 油画《天长地久》，《银色的光》参加在日本举办的《中国现代油画展》，东京
1987年 油画《面对一个有表情的脸谱》被选入在上海举办的第一届《中国油画展》
1988年 油画《升起——安宁的曙光》参加中国红十字会首届美术作品展，在中国美术馆展出并获优秀奖。
1988年 著有《绘画色彩观念的演变》一书。
1990年 张立国个人画展，欧美同学会，北京
1992年 在中国大饭店与韩国画家联展
1993年 油画《过去的岁月》参加中国美术馆《93油画年展》，并赴港展出
1993年 油画《悟》，《没有定义的兰色》，《幻想家的直觉》，《凝固的阳光》，《涌向天边的云》参加中国美术馆举办的《中日现代绘画展》
1993年《中国油画》杂志发表作品10幅，并进行了专题介绍
1994年6月 中央工艺美术学院绘画作品展，北京
1994年9月 张立国个人水墨画展，中央美术学院画廊，北京
1995年3月25日 北京电视台，专题介绍张立国的艺术作品，并且在《北京晚报》发表了通讯报道
1995年5月12日《人民日报-海外版》发表作品三幅和介绍作者绘画艺术的文章
1996年4月《美术》杂志发表油画作品
1996年9月5日 《张立国深情与宁静的艺术》，专题片，北京电视台
1996年9月29日 北京电视台，专题介绍张立国的油画作品
1996年11月 张立国油画作品，参加校庆大展，中国美术馆
1997年2月 北京电视台《色彩空间》，多次播放张立国九十年代油画作品
1997年4月《科技与经济画报》在中国当代画家专栏中介绍了张立国的绘画艺术及作品
1998年4月25日 北京大学百年校庆活动，北京大学中文系“批评家周末”，举办了关于张立国绘画艺术及九十年代中国油画艺术的座谈会。江苏画刊做了专题报道。
1998年4月 加入中国老教授协会
1998年4月 中国老教授油画展，北京
1998年5月《人民日报-海外版》发表了油画和水墨画作品及介绍文章
1998年——至今 多次应邀参加在国际艺苑举办的中国老教授油画展
1998年10月 应邀参加中国、韩国、日本艺术院校教授绘画作品巡回展
2000年1月7日 在新世纪的第一场雪中张立国的一次艺术行动：在雪地上铲出几百米长的影像，《消解现代的喧闹》发表在《社会观察》杂志上
2000年1月 应邀参加中、日、韩艺术大学教授作品展，油画《伴侣》《一个故事的开始》在中国美术馆展出，北京，汉城，东京
2001年5月 清华美院在中国美术馆主办的《科学与艺术》大展，油画《非限定性的空间》在中国美术馆展出，并获提名奖，大会论文《科学在我心中也是艺术》发表在《江苏画刊》上。
2001年7月 《东西之会艺术展》，机场画廊, 法兰克福
2002年9月 张立国画展，施菲尔特皇宫，卡塞尔
2002年 张立国教授，新潮流画廊，法兰克福
2003年3月 亚洲五国画家联展，机场画廊，法兰克福
2003年7月 张立国水墨画展，7画廊，法兰克福
2004年2月 张立国油画展，7画廊，法兰克福
2004年7月 中国2004-2010艺术展，机场画廊,法兰克福
2004年9月 张立国画展，鲁道尔夫画廊 ，柏林
2004北京艺术周展，法兰克福国际机场，空港画廊I
2004年12月 张立国水墨画展，笔祖画廊，广州
2005年 张立国教授，法兰克福新潮流画廊
2005年9月 张立国水墨画展，四分之三画廊，北京
2005年“欢迎来中国”，法兰克福国际机场，空港画廊II
2006年 2be画廊，法兰克福
2006年 张立国教授，“新潮流画廊”，法兰克福
2007年 法兰克福书展内，“张立国教授”，彼得里豪斯文化协会
2007年 张立国教授，“意识流”，魏玛
2008年 宁静的力量-张立国画展，魏玛市政厅美术馆，魏玛
2008年 张立国画展，艾本伯格画廊，慕尼黑
2008年 人影—张立国油画展， 798艺术园区-超城空间，北京
2009年 Casa Vivir y Sonar画展，伊维萨岛／巴利阿里群岛，西班牙
2009年 诗人的困惑—张立国油画展， 798艺术园区-超城空间，北京
2009年 超越政治的美术—张立国绘画1950-1978年代作品档案展， 798艺术园区-超城空间，北京
2010年 解放的绘画—张立国1978-1984年绘画作品档案展，798艺术园区-超城空间，北京
2010年 自律的绘画—张立国1985-1992年绘画作品档案展，798艺术园区-超城空间，北京
2010年10月-11月 《雪后的树林》，中国老教授绘画作品约请展，友谊宾馆，主办：中国书画收藏家协会绘画研究委员会，中国老教授协会文化专业委员会
2010年 花，湍流与緩山--张立国水墨绘画作品展，798艺术园区-超城空间，北京
2010年 新美学-张立国1993-1999年绘画作品档案展，798艺术园区-超城空间，北京
所著论文：《抽象，科学，艺术， 文明》，《不可避免的选择》，《世纪末的兴奋》，《科学在我心中也是艺术》等。
所著书籍：《绘画色彩观念演变》
Biography of Liguo Zhang Professor of Academy of Art & Design Tsinghua University
Member of Beijing Artists Association
Member of Chinese Artists Association
Member of Culture and Art Committee of Chinese Reputed Professor Association
Member of the Central Judging Committee in 1st. and the 2nd. Session of Chinese Oil Painting Exhibition
Topic-assigned Professor of National Education Commission
1939 Born in Liaoning China
1960 graduated from the Affiliated Middle School of Central Academy of Fine Art
1965 graduated from Oil Painting Department of the Central Academy of Fine Art
Since 1980 Professor of Central Academy of Art and Craft
Since 2000 Professor of Academy of Art & Design Tsinghua University
Selected Exhibitions﹠Events
1985 China-Japan Friendship Modern Art Exhibition, Museum of Miyazaki, Miyazaki
1986 the 3rd. Asia Art Exhibition, Bengal
1986 Contemporary oil painting Exhibition, China national museum, Beijing
1987 China-Japan Modern Oil Painting Exhibition, Tokyo
1987 the 1st. Chinese Oil Painting Exhibition, Shanghai
1988 Oil painting`The rising of peaceful dawn` won the best work of the China red cross art exhibition award
1990 Liguo Zhang Exhibition, Beijing
1993 93 Exhibition of China National Gallery, Beijing﹠Hongkong
1993 China-Japan Modern Art Exhibition, China National Galley, Beijing
1993 Special Issue of Zhang Liguo Oil Painting, “China Oil Painting”
1994 Invitation Exhibition of Central Academy of Art & Design, Beijing
1994 Art Exhibition of Central Academy of Art and Craft, Beijing
1995 Special Issue of Liguo Zhang with his art, Beijing TV
1995 Special Issue of Liguo Zhang with his Painting, Oversea issue of people Daily
1996 Interview of Liguo Zhang`s art work, Fine art magazine
1996 Special issue of Liguo Zhang and his affectionateness and quiet arts, Beijing TV
1997 Interview of Liguo Zhang`s oil Painting, Beijing
1998 Liguo Zhang and 1990` Chinese oil painting works, colloquium of `critics weekend`,Beijing University
1998 Chinese Reputed Professor oil painting Exhibition, Beijing
1998 China, Japan and Korea Reputed Professor arts Exhibition, Seoul, Beijing, Tokyo
2000 China, Japan and Korea Reputed Professor arts Exhibition, Beijing, Seoul, Tokyo
2001 Exhibition "East meets West", Airport Gallery 1, Flughafen Frankfurt Main
2002 Exhibition im Schönfelder Schloss, Kassel
2002 Prof. Zhang Li-Guo, New Trend Gallery, Frankfurt am Main
2003 Exhibition "Der 5. Drache", Airport Gallery 1, Flughafen Frankfurt Main
2003 Galerie 7, Frankfurt Main, Am Dornbusch "Tuschezeichnungen"
2004 Galerie 7, Frankfurt Main, Am Dornbusch, "Gemälde"
2004 Exhibition "China 2004-2010", Airport Gallery 1, Flughafen Frankfurt Main
2004 Exhibition "Galerie Rodolfo", Berlin Mitte
2004 Beijing Art Week, Airport Gallery I, Terminal 1, Frankfurt International Airpoirt
2005 Prof. Zhang Li-Guo, New Trend Gallery, Frankfurt/Main
2005 Exhibition “The Power of Silence”, 3/4 Gallery, Beijing
2005 Wellcome to China, Airport Gallery II, Terminal 2, Frankfurt International Airport
2006 Galerie 2be, Frankfurt am Main
2006 Prof. Zhang Li-Guo, New Trend Gallery, Frankfurt/Main
2007 Intern. Frankfurter Buchmesse, "Prof. Zhang Li-Guo", Kulturverein Petrihaus e.V.
2007 Prof. Zhang Li-Guo, SinnFlut, Weimar
2008 Energie der stille- Liguo Zhang, Galerie im Stadthaus, Weimar
2008 Exhibition“Zhang Liguo”, beim Kulturverein DIE SONNTAGSIDEE in Ebersberg Gallery, Munich
2008 Exhibition “Human Shadow”,798 CU Space Gallery, Beijing
2009 "Exhibiotion Casa Vivir y Sonar", Ibiza/Balearen, Spain
2009 Exhibition “Confusing of poet”,798 CU Space Gallery, Beijing
2009 Beyond the Politics’s Fine Art – Documentation exhibition of Zhang Liguo about his work in between 1950’s – 1978 , 798 CU Space Gallery, Beijing
2010 EMANCIPATORY PAINTING - Documentation Exhibition of Zhang Liguo about his work in between 1978 -1984, 798 CU Space Gallery, Beijing
2010 AUTONOMOUS PAINTING - Documentation Exhibition of Zhang Liguo about his work in between 1985 -1992, 798 CU Space Gallery, Beijing
2010 “Grove after Snowing”, Art Exhibition of Chinese Senior Professors, Friendship Hotel, orgnized by the Art Research Committee of Chinese Calligraphy and Paintings Collector Association and the Culture Committee of Chinese Senior Professor Association.
2010 FLOWER, ON FLOW & Hill SIDE - Exhibition of Zhang Liguo about his ink and wash paintings 798 CU Space Gallery, Beijing
2010 NEW AESTHETICS- Documentation Exhibition of Zhang Liguo about his work in between 1993 -1999
798 CU Space Gallery, Beijing
