油画真正从西方传进中国不过是本世纪初叶的事。短短的一百年间,油画艺术家们谱写了这一艺术门类在千年古国里迅速萌芽、生长、成林的神话。但可以说,在80年代以前,中国油画尚处于一种比较幼稚、初级、单一的缓慢生长状态。尽管先有李铁夫、李毅士、冯钢百、吴法鼎、徐悲鸿、吴作人等大家直接从西方取经而归,后有董希文、苏天赐、吴冠中、靳尚谊、詹建俊、全山石、韦启美、钟涵、罗尔纯、朱乃正等油画中坚力量力图使油画更中国化,但由于历史的原因,他们或过于模仿西方学院主义、现实主义的风格,或囿于政治原因被迫从事一种“大众化”的“红、光、亮”主题性创作而难以舒展自己才华横溢的个性。当然不可否认的是,前辈油画家们确实也留下了一笔厚实而辉煌的艺术遗产,尤其是西方先进的美 The real introduction of oil painting from the West into China is only the beginning of this century. Within a short span of a hundred years, oil painting artists have written the myth that this art genre rapidly sprouted, grew and became a forest in the ancient millennium. However, it can be said that before the 1980s, Chinese oil painting was still in a relatively naive, primary and single state of slow growth. In spite of the fact that all of them had directly taken lessons from the West, such as Li Tiefu, Li Yi Shi, Feng Gangbai, Wu Fading, Xu Beihong and Wu Zuoren, and later Dong Xiwen, Su Tianci, Wu Guanzhong, Jin Shangyi, Zhan Jianjun, Quan Shan Shi, Wei Qi Mei, Zhong Han, However, due to historical reasons, they either imitated Western academicism or realistic style or were forced to engage in a kind of “popularization” of “redness and lightness” due to political reasons , Bright "thematic creation and difficult to stretch their talented personality. Of course, it is undeniable that the predecessors oil painters did leave a solid and splendid artistic heritage, especially the advanced western beauty