Notes
203 Notes Introduction 1 Eugene Y. Wang, ‘Sketch Conceptualism as Modernist Contingency’, in Maxwell K. Hearn and Judith G. Smith (eds.) Chinese Art Modern Expressions (New York: The Metropolitan Museum of Art, 2001), p. 103. 2 I am grateful to Yao Souchou for drawing my attention to his essay ‘The Fall of a President: Friendship, Beauty, Vicissitude’, in Alan Cruickshank and Lee Weng Choy (eds.) Cultural Faultlines: 2005 Contemporary Art Centre of SA Lecture Series (Adelaide: Contemporary Art Centre of South Australia, 2005), pp. 51–71. See also Agnes Heller, ‘The Beauty of Friendship’, South Atlantic Quarterly 97(1) (1998): 5–22 and Peter Murphy, ‘Friendship’s Eu-topia’, South Atlantic Quarterly 97(1) (1998): 169–85. 3 Heller, ‘The Beauty of Friendship’, 7–8. 4 D.C. Lau (trans.) Mencius (Hong Kong: The Chinese University Press, 2003), pp. 223–5. Chapter 1 1 Sun Fuxi, a graduate of Peking University, had studied at the French National Art Academy from 1920 until 1925. He provided Fou Lei with introductions in Paris, and encouraged him to write about his journey. Fou Lei’s letters were published in Gongxian xunkan 1(6)–4(1) (1928). See Fou Min (ed.) Fou Lei wenji, wenyi juan (Beijing: Dangdai shijie chubanshe, 2006), pp. 23–77. 2 Zhou Xiang, who had received training at the Tushanwan Art Workshop, is said to have opened his own academy around 1911. The Shanghai Art College (Shanghai tuhua meishu yuan, and after many name changes known as Shanghai meishu zhuanke xuexiao) was established in late 1912 and officially proclaimed in 1913. Li Shutong (1880–1942), who had studied Western art in Japan, introduced life drawing and plein air painting to the Zhejiang First Normal School in Hangzhou in 1914. 3 My thanks to Father Jeremy Clarke SJ for sharing with me his archival research on the Tushanwan Art Workshop. See Jeremy Clarke SJ, ‘Our Lady of China: Marian Devotion and the Jesuits’, Studies in the Spirituality of the Jesuits 41/3 (2009): 27–30; and Lynn Pan, Shanghai Style: Art and Design between the Wars (San Francisco: Long River Press, 2008), pp. 34–6. 4 For a detailed study of archival sources relating to Liu Haisu and the nude model controversy, see Julia F. Andrews, ‘Art and Cosmopolitan Culture of the 1920s Shanghai: Liu Haisu and the Nude Model Controversy’, Chungguksa Yôn’gu (The Journal of Chinese Historical Research), vol. 35 (2005): 323–72. See also Shi Nan, ‘Yishu bantu’ Liu Haisu (Beijing: Shidai wenyi chubanshe, 2003), pp. 18–44. 5 Liu Haisu, Ouyou suibi (Beijing: Dongfang chubanshe, 2006), p. 9. See also Yuan Zhihuang and Chen Zu’en (eds.) Liu Haisu nianpu (Shanghai: Shanghai renmin meishu chubanshe, 1992), p. 92, n. 1. 6 See Jin Mei, Fou Lei zhuan (Changsha: Hunan wenyi chubanshe, 1993), pp. 93–4; Liu Haisu, Ouyou suibi, pp. 99–104. 7 Hilary Spurling, Matisse: The Master (London: Penguin, 2005), p. 330. 8 Dongfang zazhi 27(19) (1930): 85–9. 204 Notes to Pages 20–32 9 See Fou Min (ed.) Fou Lei wenji, wenyi juan, p. 526. 10 The exhibition opened on 16 June 1930. Liu Haisu arrived in Belgium on 28 July and judging was held the following day. A larger exhibition was held at the Liege Art Gallery on 5 October 1930. See Yuan Zhihuang and Chen Zu’en, Liu Haisu nianpu, p. 97, and Wang Zhongxiu (ed.) Huang Binhong nianpu (Shanghai: Shanghai shuhua chubanshe, 2005), p. 256. The medal awarded to Huang Binhong is in the collection of the Zhejiang Provincial Museum, Hangzhou. 11 Liu Haisu, Ouyou suibi, pp. 9–14. The exhibition did not happen. Liu Haisu travelled to Frankfurt in 1931 to give a lecture on Chinese painting and was invited to hold an exhibition. He was later involved in organizing a large exhibition of modern Chinese painting that toured in Europe and was held at the Prussian Academy of the Arts, Berlin in 1934. See Jo-Anne Birnie Danzker et al. (eds.) Shanghai Modern 1919–1945 (Ostfildern-Ruit: Hatje Cantz, 2004), pp. 377–8. 12 Communication with Fou Min, 30 January 2009. 13 Wang Zhongxiu (ed.) Huang Binhong nianpu, p. 272. 14 Shi Jianbang, ‘Fou Lei yu Huang Binhong: Zhongguo huihua chuantong chuangxin zhuanhua de zhuixun’, Duo Yun 44 (1995): 111. Chapter 2 1 Yang Jiang, ‘Yi Fou Lei’, in Jin Shenghua (ed.) Jiang sheng hao dang hua Fou Lei (Beijing: Dangdai shijie chubanshe, 2006), p. 13. 2 Fou Lei, ‘Liu Haisu’, in Fou Min (ed.) Fou Lei...
OR
