CDQ014（原作-有框）陈丹青 无题 24×30.5cm 彩色粉画 2005
色粉画的好处是既有线条又有色彩，可以画成素描（速写），也可以色彩斑斓争美油画。陈丹青的色粉画介于两者之间，色不伤笔，笔不伤色，他私淑法国名手，因而兼有夏尔丹的朴素、华托的贵气，马奈的开朗，德加的笔色浑然。中国古来讲究中锋用笔，反观欧洲文艺复兴至19世纪的素描传统，也大致如此。陈丹青原以速写见长，画色粉是他80年代到纽约后的事，依旧好手感，用笔却比速写更精进更复古，笔笔中锋，线条自起自导，人身的轮廓、重量、空间、体积、骨与肉，均由线条发起，最后又都归回到线条，而饱满的造型，生动的姿态、浑圆的形体，肌肤的温度，跃然纸上。
Both lines and colors can be seen in pastels and this is an advantage. A pastel can be eithera sketch or a colorful oil painting. However, Chen Danqing’s pastels liebetween the two, in which lines and colors are in harmony. He ever studiedpersonally from French masters, so his works combine Chardin’s simplicity, Watteau’sextravagance, Manet’s brightness, and Degas’s integration of lines and colors. AncientChinese artists laid much emphasis on keeping the writing brush perpendicularwith the paper and the tip of the brush in the middle of the lines, and this iswhat we call “zhong feng yong bi”. From Renaissance to 19th century, pencils werealso usually used this way to draw sketches in Europe. Chen was originally goodat sketching. It was after he went to New York in 1980s that he began to drawpastels. For him, the feel is equally good. But his pastels are more exquisiteand more reversionary than his sketches. “Zhong feng yong bi” is fully applied.Lines start and extend naturally. The profile of bodies, the weight, the space,the volume, and bones and flesh are all started from lines and finished withlines. Abundant shapes, vivid gestures, chubby bodies and even the temperatureof the skin are fully displayed on the paper.
