名气诚可贵，作品高下才是“定盘星”

　这个冬季，京城艺术展颇有点儿逆流而上的味道。尽管室外温度屡屡在零下几度徘徊，各大场馆却铆足了劲儿连推重量级展览。一边是中国美术馆主打的系列馆藏精品展，一边是中华世纪坛艺术馆从国外引进的多个特展，两边艺术家名气都不小，颇有点儿中外艺术打擂台的味道。可惜的是，这场擂台赛算不得精彩，一边排出千米长队，一边略显平淡，参观者用脚步告诉人们，展品高下才是硬道理。

　　艺术批评家孟铭维长年流连于京沪各大艺术馆，他笑言今冬两地艺术展的比拼，北京胜出。令他印象最深刻的莫过于“美在新时代——庆祝十九大胜利召开中国美术馆典藏精品特展”（下称“美在新时代”），不仅在于它每天引来一两万人排队进场，如此场面已多年未见，而且每件展品都绝对是名家名作。如果再算上此前推出的“沧海一粟——刘海粟艺术展”“宗其香百年诞辰艺术展”，中国美术馆一口气推出的三场馆藏展，彻底引爆了京城艺术爱好者的参观热情。以“美在新时代”为例，在展出的十天里，平均每天参观人次都超过一万，最后两天更是迫近两万，远远高出单日6000人次的“红线”，最终总参观量约为13万人次。

　　“不客气地讲，虽说这些年一直大谈特谈大众美育，也就这几次展览让人看到了些许希望。”在艺术市场分析人士马维看来，真正的大众美育不应该是几个熟面孔围在一起自娱自乐，而是要让各个年龄层都参与进来。“可这谈何容易？国内原本就没有观看艺术展的传统，如果展品再提不起观众兴致，必然悄无声息。”他认为，中国美术馆的几场馆藏展提供了一个样板——不仅艺术家个个鼎鼎大名，齐白石、徐悲鸿、林风眠、傅抱石、李可染、吴冠中，无一不是近现代中国美术史上的大师，而且所“晒”也多为代表作。

　　几乎与中国美术馆同步，近一个月里中华世纪坛艺术馆也接连从国外引进好几场特展。从“臻品·大师原作展——2017巴比松画派作品展”，到正在展出的“安格尔的巨匠之路——来自大师故乡蒙托邦博物馆的收藏”，一个是在艺术史上占有重要地位的法国巴比松画派首次大规模、成体系登陆中国，一个集中呈现法国19世纪“唯美的古典主义”绘画。按理说，这是市民近距离接触西方经典绘画的绝佳机会。但稍稍遗憾的是，所展作品与人们预期有一定落差。以创作出《泉》《大宫女》《土耳其浴女》等经典之作的安格尔为例，这次参展作品里重量级艺术品并不多，倒是素描、草稿这类作品占了不小比重。

　　“不是说它们就不重要，可我相信绝大多数参观者还是冲着看他们的油画经典而去的。”独立策展人刘力认为，评价一场展览成功与否，很重要一条标准就是到底与参观者互动如何，近两次展览的知晓度不高，而且经典原作不足，效果自然也就不是很理想。

　　孟铭维承认，如今从国外文博机构引入优质展览越来越难，不单是借展经费问题，还涉及艺术品保险、运输，“可既然有意重点推欧美经典展，还得多下功夫。”他认为，日渐富裕起来的国人对艺术大师的了解已不愿浅尝辄止，有无经典原作才是他们认可展览的那颗“定盘星”。

来源：北京日报

Fame is precious, is the "new works to compete"

This winter, the art exhibition is a little taste of the upstream. Although the outdoor temperature is often hovering in a few degrees below zero, the venue is riveting pushing heavyweight exhibition. On the one hand, the collection of China's art gallery's main collection exhibition is on the one hand. On the other hand, there are many special exhibitions introduced by the China Millennium art gallery from abroad. The artists on both sides are quite famous. Unfortunately, the competition is not brilliant, but it is a bit dull while drained the kilometer long team. The visitors told people in their footsteps that the high quality of exhibits is the absolute principle.

Art critic Meng Mingwei long to linger in the Shanghai Museum of art major, he said the two winter art competition, Beijing win. His most impressive is the "beauty in the new era -- to celebrate the nineteen big victory is held Chinese Museum of art boutique Exhibition (hereinafter referred to as the" beauty "in the new era"), not only because it every day attracted ten thousand or twenty thousand people queued, such scenes have been seen for many years, and each exhibits are absolutely masterpieces. If you count after the launch of the "Liu Haisu Art Exhibition" -- a drop in the bucket "in Qixiang centenary Art Exhibition", three venues China Museum launched breath collection exhibition, completely detonated art lovers enthusiasm to visit beijing. Taking "beauty in the new era" as an example, on the ten day of exhibition, the average number of visits per day is over ten thousand, and the last two days are nearly twenty thousand, which is far higher than the "red line" of 6000 times per day, and the total number of visitors is about 130 thousand.

"It is unkind to say that although we have been talking about the mass aesthetic education over the years, these exhibitions have seen some hope." In the view of Marv, an art market analyst, the real mass aesthetic education should not be surrounded by several familiar faces, but to involve all ages. "This may be easier said than done? At home, there was no tradition to watch the art exhibition. If the exhibits could not raise the interest of the audience, it was inevitable. He believes that several Chinese Art Museum collection exhibition provides a model not only by the artist Qi Baishi, Xu Beihong, a great reputation, Lin Fengmian, Fu Baoshi, Li Keran, Wu Guanzhong, a modern China art history master, and the "sun" as representative.

Almost in sync with the Chinese Art Museum, the Zhonghua Temple Art Museum has also introduced several special exhibitions from abroad in the last month. From the "Pierre & original masters Exhibition -- 2017 Barbizon Exhibition", is to display "master Angell road -- from the museum's collection master hometown of Montauban, a occupies an important position in the art history of the French Barbizon school, the first large-scale landing system Chinese, a focus on France in nineteenth Century" beautiful classical painting. As a matter of fact, it is a great opportunity for the citizens to contact the classic western paintings in close proximity. But it is a little regrettable that there is a certain difference between the works and the expectations. To create a "spring" "great ladies" "Turkey women" classic case of Angell, the exhibition of works of art in the heavyweight is not much, but the draft sketch, this kind of works accounted for a small proportion.

"Not that they are not important, but I believe the vast majority of the visitors are going to watch their oil painting classics." Liu Li, an independent curator, thinks that it is very important to evaluate whether an exhibition is successful or not. One criterion is how to interact with visitors. The awareness of the recent two exhibitions is not high, and the classic original works are not enough, and the effect is not ideal.

Meng Mingwei acknowledges that it is more and more difficult to introduce high-quality exhibitions from foreign cultural institutions now. It's not only about the issue of exhibition funds, but also about art insurance and transportation. "But since we want to focus on classic exhibitions in Europe and America, we need to work harder. He believes that the increasingly wealthy Chinese people to master the art of understanding has not tasted, there is no classical original is the heart of the new exhibition they recognized".