Catalogue

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Painters and politics in the People's Republic of China, 1949-1979 [electronic resource] /
Julia F. Andrews.
imprint
Berkeley : University of California Press, c1994.
description
xv, 568 p., [12] p. of plates : ill. (some col.) ; 27 cm.
ISBN
0520079817 (alk. paper)
format(s)
Book
More Details
imprint
Berkeley : University of California Press, c1994.
isbn
0520079817 (alk. paper)
restrictions
Licensed for access by U. of T. users.
catalogue key
8022293
 
Includes bibliographical references (p. 497-520) and index.
A Look Inside
Excerpts
Flap Copy
"That Julia Andrews has reached sources that are so sensitive and difficult with such success is remarkable. The book is unquestionably a brilliant job, well-written, understandable, and of enormous scholarly value."--Joan Lebold Cohen, author ofThe New Chinese Painting
Flap Copy
"That Julia Andrews has reached sources that are so sensitive and difficult with such success is remarkable. The book is unquestionably a brilliant job, well-written, understandable, and of enormous scholarly value."--Joan Lebold Cohen, author of The New Chinese Painting
Full Text Reviews
Appeared in Choice on 1995-07:
This is a prodigious unrolling of 30 years of information about the complete art scene in Communist China, from the establishment of the People's Republic of China (PRC) to the opening to the West in 1979. Andrews (Ohio State) traces the artistic program of the Mao decades through many personal interviews and translations of newspapers and official documents. She interweaves the individual artists and their works, the exhibition scene, the art educational system, and, above all, the various governmental bureaucracies with other cultural elements and the politics of the time to reveal the complex and often contradictory art world of a totalitarian state. The two most prominent manners of paintings, gouhua (traditional techniques) and caimohua (nontraditional techniques--e.g., oil painting), were played off against each other throughout most of the 30-year period. There are no particular surprises here (socialist realism is the dominant style of the period, bureaucratic control rejects personal expression, the government prescribes subject, style, even technique), but the richness of the detail will make this a very fertile study for other scholars. Given current debate in the US, there are valuable nuggets on the role of government in the arts. Bibliography (both Western and Chinese sources); 21 pages of Chinese names and terms; 55 pages of notes. According to Western standards, most of the art is dreadful; nevertheless, better illustrations are called for. Strongly recommended for advanced undergraduate and graduate students. D. K. Haworth; Carleton College
Reviews
This item was reviewed in:
Choice, July 1995
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Summaries
Long Description
Julia Andrews's extraordinary study of art, artists, and artistic policy during the first three decades of the People's Republic of China makes a major contribution to our understanding of modern China. From 1949 to 1979 the Chinese government controlled the lives and work of the country's artists--these were also years of extreme isolation from international artistic dialogue. During this period the Chinese Communist Party succeeded in eradicating most of the artistic styles and techniques it found politically repugnant. By 1979, traditional landscape painting had been replaced by a new style and subject that was strikingly different from both contemporary Western art and that of other Chinese areas such as Taiwan, Hong Kong, and Singapore. Through vivid firsthand accounts, Andrews recreates the careers of many individual artists who were forced to submit to a vacillating policy regarding style, technique, medium, and genre. She discusses the cultural controls that the government used, the ways in which artists responded, and the works of art that emerged as a result. She particularly emphasizes the influence of the Soviet Union on Chinese art and the problems it created for the practice of traditional painting. This book opens the way to new, stimulating comparisons of Western and Eastern cultures and will be welcomed by art historians, political scientists, and scholars of Asia.
Table of Contents
Acknowledgments
List of Abbreviations
Introductionp. 1
Revolutionaries and Academics: Art of the Republican Periodp. 11
The Reform of Chinese Art, 1949-1952p. 34
From Popularization to Specializationp. 110
The Politicization of Guohuap. 176
The Great Leap Forward and Its Aftermath: "More, Faster, Better, Cheaper"p. 201
The Cultural Revolutionp. 314
The Transition to "Artistic Democracy," 1976-1979p. 377
App. 1. National Arts Administrators, 1949p. 407
App. 2. National Art Administrators, 1960p. 410
App. 3. National Art Administrators, 1979p. 413
App. 4. Oil Painters in the Soviet Mannerp. 416
Notesp. 419
List of Chinese Names and Termsp. 475
Selected Bibliographyp. 497
List of Illustrationsp. 521
Indexp. 531
Table of Contents provided by Blackwell. All Rights Reserved.

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