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X-ORIGINAL-URL:https://artgalleryapollo.com/2021
X-WR-CALDESC:Events for Apollo art gallery
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TZID:Asia/Taipei
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TZOFFSETFROM:+0800
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DTSTART:20250101T000000
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BEGIN:VEVENT
DTSTART;TZID=Asia/Taipei:20260228T080000
DTEND;TZID=Asia/Taipei:20260228T170000
DTSTAMP:20260605T155746
CREATED:20260228T070020Z
LAST-MODIFIED:20260228T093040Z
UID:13928-1772265600-1772298000@artgalleryapollo.com
SUMMARY:冉茂芹，《道格拉斯》：台灣．台北
DESCRIPTION:冉茂芹，《道格拉斯》：台灣．台北\n53×41 cm，2013年 \n這是我油畫人物雕刻化最明顯的畫例，我眼前的人物完全〝弗魯貝爾〞(俄國十九世紀大師) 化了，完全〝米開朗基羅〞化了。我像鑲嵌師那樣去〝切〞去〝按〞去〝捶打〞，使形像雕塑化，力求帶來另一種美感。 \n  \nYIM Mau-Kun\, Douglas\n53×41cm，2013年\n \nThis is the most striking example of the sculptural transformation of figures in my oil painting. The figure before my eyes became completely “Vrubel-ized”—transformed in the manner of Mikhail Vrubel—and entirely “Michelangelo-ized\,” in the spirit of Michelangelo. Like an inlay craftsman\, I “cut\,” “press\,” and “hammer\,” sculpturalizing the form and striving to bring forth a different kind of beauty.
URL:https://artgalleryapollo.com/2021/event/%e3%80%8a%e9%81%93%e6%a0%bc%e6%8b%89%e6%96%af%e3%80%8b%ef%bc%9a%e5%8f%b0%e7%81%a3%ef%bc%8e%e5%8f%b0%e5%8c%97/
CATEGORIES:作品
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Taipei:20260228T080000
DTEND;TZID=Asia/Taipei:20260228T170000
DTSTAMP:20260605T155746
CREATED:20260228T064846Z
LAST-MODIFIED:20260228T065359Z
UID:13914-1772265600-1772298000@artgalleryapollo.com
SUMMARY:冉茂芹，《田疇晚雲》：台灣．桃園．龍潭
DESCRIPTION:冉茂芹，《田疇晚雲》：台灣．桃園．龍潭\n31×41 cm，2010年 \n清末民初大學者王國維說：「有造境，有寫境，此理想與寫實二派之所由分。然二者頗難分別，因大詩人所造之境必合乎自然，所寫之境必鄰於理想故也。」 \n畫家心中有詩，眼中有詩，下筆畫面必有詩意而少匠氣也。早些年赴美講學，見女婿Uffe(丹麥人，中國古文化教授)的書架上有這本《 人間詞語解讀》，翻閱後直索之，帶回台北。常翻閱，常有悟。 \n  \nYIM Mau-Kun\, Evening Clouds over the Fields\, Taoyuan\, Taiwan\nWang Guowei\, a great scholar of the late Qing and early Republican period\, once said: \n“There is the creation of a realm\, and there is the depiction of a realm. This is how the idealist and realist schools are distinguished. Yet the two are rather difficult to separate\, for the realm created by a great poet must accord with nature\, while the realm depicted must inevitably verge upon the ideal.” \n  \nWhen a painter carries poetry in the heart and poetry in the eye\, the painted image will naturally be imbued with poetic resonance and free of mere craftsmanship. Years ago\, while lecturing in the United States\, I noticed a copy of Renjian Ciyu Jiedu on the bookshelf of my son-in-law Uffe (a Dane and a professor of classical Chinese culture). After browsing through it\, I immediately asked for it and brought it back to Taipei. I return to it often\, and each time I do\, I gain new insights.
URL:https://artgalleryapollo.com/2021/event/13914/
CATEGORIES:作品
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Taipei:20260228T080000
DTEND;TZID=Asia/Taipei:20260228T170000
DTSTAMP:20260605T155746
CREATED:20260228T063246Z
LAST-MODIFIED:20260228T065545Z
UID:13899-1772265600-1772298000@artgalleryapollo.com
SUMMARY:冉茂芹，《小樹林》：台灣．宜蘭
DESCRIPTION:冉茂芹，《小樹林》：台灣．宜蘭\n53×45 cm，2007年 \n這是宜蘭、台北交界處的森林研究所。 \n在好朋友楊恩生教授大力推薦下，我背著油畫箱進到這幽靜的山林湖泊之中，眼前的小樹林彷彿是一群舞完的姑娘對著我說：「留下來！」，夕陽也灑進兩抹溫暖的陽光，還說什麼呢？我終於畫完這無聲的小樹林。 \n畫樹林很難，難在要有深度，有空間感，方如古人所說：「可居，可遊」，所謂有意境。 \n  \nYIM Mau-Kun\, Small Grove\, Yilan\, Taiwan\n53×45 cm，2007年\n \nThis is the Forest Research Institute at the border between Yilan and Taipei. \nAt the strong recommendation of my good friend Professor Yang En-sheng\, I carried my oil-painting kit into this tranquil mountain forest and lakeside setting. The small grove before me seemed like a group of dancers who had just finished their performance\, turning to me as if to say\, “Stay.” The setting sun cast two bands of warm light into the scene—what more needed to be said? In the end\, I completed this silent little grove. \nPainting a forest is difficult. The challenge lies in creating depth and a sense of space\, so that it becomes\, as the ancients described\, “a place one could dwell in\, a place one could wander through”—in other words\, a scene imbued with poetic atmosphere. \n 
URL:https://artgalleryapollo.com/2021/event/%e5%86%89%e8%8c%82%e8%8a%b9%ef%bc%8c%e3%80%8a%e5%b0%8f%e6%a8%b9%e6%9e%97%e3%80%8b%ef%bc%9a%e5%8f%b0%e7%81%a3%ef%bc%8e%e5%ae%9c%e8%98%ad/
CATEGORIES:作品
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Taipei:20260228T080000
DTEND;TZID=Asia/Taipei:20260228T170000
DTSTAMP:20260605T155746
CREATED:20260228T062556Z
LAST-MODIFIED:20260228T065528Z
UID:13898-1772265600-1772298000@artgalleryapollo.com
SUMMARY:冉茂芹，《北野天滿宮》：日本．京都
DESCRIPTION:冉茂芹《北野天滿宮》：日本．京都\n45×53 cm，2005年 \n北野天滿宮很大，在主宮旁邊還有捐献者的小廟，造型、色彩多姿多彩，十分可愛。我用四個小時，畫下了這小小廟的可細讀的一景。 \n  \nYIM Mau-Kun\, Kitano Tenmangu Shrine\, Kyoto\n45×53 cm，2005\n \nKitano Tenmangū Shrine is expansive\, and beside the main sanctuary there are small shrines donated by patrons. Rich in form and color\, they are delightful in their variety. I spent four hours painting a carefully observed scene of one of these small shrines.
URL:https://artgalleryapollo.com/2021/event/13898/
CATEGORIES:作品
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Taipei:20260228T080000
DTEND;TZID=Asia/Taipei:20260228T170000
DTSTAMP:20260605T155746
CREATED:20260228T062008Z
LAST-MODIFIED:20260228T062628Z
UID:13897-1772265600-1772298000@artgalleryapollo.com
SUMMARY:冉茂芹，《春雨迷濛長岡京》：日本．京都
DESCRIPTION:《春雨迷濛長岡京》：日本．京都\n45.5×53 cm，2005年 \n長岡京在京都附近，每次從新大阪坐電車到京都，從窗邊能看到長岡京的景色：它有一灣水，有座小小山，山上有座小小廟。水邊蓋了一排古色的茶室。山上水邊處處可見各種櫻花玉立其中，尤其是湖邊兩排吉野櫻，伸出長枝、搭成棚式的花道，甚是壯觀。 \n正遊覽間，天忽小雨，只好躲進彎橋那頭的木亭，畫下這湖邊春影。 \n  \nYIM Mau-Kun\, Mist-Veiled Spring Rain in Nagaokakyō\, Kyoto\, Japan\n45.5×53cm，2005\n \nNagaokakyō lies near Kyoto. Each time I take the train from Shin-Osaka to Kyoto\, I can see the scenery of Nagaokakyō from the window: a curve of water\, a small hill\, and atop it\, a small temple. Along the water’s edge stands a row of quaint\, timeworn teahouses. On the hill and by the water\, cherry trees of various kinds appear everywhere\, standing gracefully among the landscape. Most striking of all are the two rows of Yoshino cherry trees by the lakeside\, their long branches stretching outward to form a tunnel-like canopy of blossoms—truly a magnificent sight. \nWhile strolling through the area\, a light rain suddenly began to fall\, so we took shelter in a wooden pavilion at the far end of the arched bridge\, where I painted this spring scene by the lake.
URL:https://artgalleryapollo.com/2021/event/%e3%80%8a%e6%98%a5%e9%9b%a8%e8%bf%b7%e6%bf%9b%e9%95%b7%e5%b2%a1%e4%ba%ac%e3%80%8b%ef%bc%9a%e6%97%a5%e6%9c%ac%ef%bc%8e%e4%ba%ac%e9%83%bd/
CATEGORIES:作品
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Taipei:20260228T080000
DTEND;TZID=Asia/Taipei:20260228T170000
DTSTAMP:20260605T155746
CREATED:20260228T053747Z
LAST-MODIFIED:20260228T062751Z
UID:13894-1772265600-1772298000@artgalleryapollo.com
SUMMARY:冉茂芹，《蘭嶼落日》： 台灣‧台東
DESCRIPTION:冉茂芹，《蘭嶼落日》： 台灣‧台東\n91×65cm，2004年 \n蘭嶼在台東外海，是台灣迷人的島嶼，島不大，摩托車環島一周也不到兩小時，島上居住二千多達悟族，捕魚和種植芋頭為生。他們的房屋低矮且深陷於山坡土表，因而，冬暖夏涼。尤其令人驚豔的是達悟人用木板手工製作的小船，兩頭翹起，船身雕刻圖案，填上紅白花紋，美麗極了。 \n我畫過面向太平洋的東清灣，決意再畫一幅蘭嶼落日，畫中：夕陽西下，漫天浮雲，海浪嘻鬧，排成隊的小船們彷彿向晚霞致敬，這黃昏多麼溫暖和愉快啊，所以，過去曾取了一個稍長的名字「太陽最後的微笑」。 \n  \nYIM Mau-Kun\, Sunset at Lanyu\, Taitung\, Taiwan\n91×65cm，2004\n \nLanyu lies off the coast of Taitung and is one of Taiwan’s most enchanting islands. The island is small—one can ride a motorcycle around it in less than two hours. It is home to more than two thousand Tao people\, who make their living by fishing and cultivating taro. Their houses are low and set deep into the hillside earth\, making them warm in winter and cool in summer. Most striking of all are the Tao people’s hand-built wooden boats: both ends curve upward\, and the hulls are carved with patterns and painted in red and white designs—exquisitely beautiful.
URL:https://artgalleryapollo.com/2021/event/%e3%80%8a%e8%98%ad%e5%b6%bc%e8%90%bd%e6%97%a5%e3%80%8b%ef%bc%9a-%e5%8f%b0%e7%81%a3%e2%80%a7%e5%8f%b0%e6%9d%b1/
CATEGORIES:作品
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Taipei:20260228T080000
DTEND;TZID=Asia/Taipei:20260228T170000
DTSTAMP:20260605T155746
CREATED:20260228T052226Z
LAST-MODIFIED:20260228T062807Z
UID:13889-1772265600-1772298000@artgalleryapollo.com
SUMMARY:冉茂芹，《舊工棚》：台灣‧南投‧水里
DESCRIPTION:冉茂芹，《舊工棚》：台灣‧南投‧水里\n33.5×45.5cm，1999 \n離開埔里後我們三幾輛車往水里方向駛去，我是糊裡糊塗，地點方向一些也沒概念，我唯一的工作是盯住沿途看景緻，一遇有畫頭的即刻叫停。 \n在這廢棄的工棚處下車看看，果然不錯，蠻有畫味，那一橫一豎的木板廠房，荒落的小院中斜伸著一棵多姿的鳳凰花樹，細碎的樹葉撒落在板棚上和小院的泥土上，還不時神經質地在抖落。沒有半個人影，真正的人去樓空！只有偶爾經過的飛鳥嘠的一兩聲，好像是驚奇竟有人為此荒涼的舊樓留影。 \n其實，這處景物雖然美感特殊，但難度極大！尤其是板棚前面還有樹木，要畫樹幹樹枝樹葉還要樹葉婆娑！這一切都要在現場三小時完成！\n殘破的景物常引起人們的傷感，或許，這應該不只是我的“強說愁”吧？ \n  \nYIM Mau-Kun\, Old Shed\, Nantou\, Taiwan\n33.5×45.5cm，1999\n \nAfter leaving Puli\, several cars of us headed toward Shuili. I was rather muddle-headed\, with no real sense of the route or direction. My only task was to keep my eyes on the scenery along the way\, and the moment I spotted something paint-worthy\, I would call for a stop. \nWe got out at this abandoned work shed to take a look\, and sure enough\, it was promising—full of pictorial charm. The wooden factory building\, with its horizontal and vertical planks\, stood in a desolate little courtyard where a graceful flame tree stretched diagonally upward. Fine leaves were scattered over the plank roof and the earthen ground of the yard\, occasionally quivering and falling as if nervously shedding themselves. There was not a single person in sight—truly a place abandoned and emptied of life. Only the occasional passing bird cried out once or twice\, as if surprised that someone would pause to capture images of such a desolate old building. \nIn fact\, although this scene possessed a distinctive beauty\, it was extremely challenging to paint. Especially with trees standing in front of the shed—the trunks\, branches\, and leaves all had to be depicted\, including the fluttering foliage. And all of this had to be completed on site within three hours. \nRuined scenes often stir a sense of melancholy. Perhaps this is not merely my own tendency to “force sorrow” where it need not be.
URL:https://artgalleryapollo.com/2021/event/%e3%80%8a%e8%88%8a%e5%b7%a5%e6%a3%9a%e3%80%8b%ef%bc%9a%e5%8f%b0%e7%81%a3%e2%80%a7%e5%8d%97%e6%8a%95%e2%80%a7%e6%b0%b4%e9%87%8c/
CATEGORIES:作品
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Taipei:20260228T080000
DTEND;TZID=Asia/Taipei:20260228T170000
DTSTAMP:20260605T155746
CREATED:20260228T051911Z
LAST-MODIFIED:20260228T062822Z
UID:13878-1772265600-1772298000@artgalleryapollo.com
SUMMARY:冉茂芹，《埔里河》：台灣‧南投‧埔里
DESCRIPTION:冉茂芹，《埔里河》：台灣‧南投‧埔里\n33.5×45.5 cm，1999年 \n1999年秋天，發生了驚天動地的921大地震，整個台灣都被搖撼了，而震央正是南投縣的埔里。 \n那年春天，我台北與髙雄兩地的美術班學員舉辦了一次聨合寫生活動，南北向中的集合點就是埔里，記得住在一處名叫“阿波羅”的hotel。在埔里大約兩叄天吧，後來就各車散開了。 \n這張畫中的河叫什麼名字？處在埔里鎮的東南西北？也不清楚了，但是，清楚記得畫中的右方是一塊台地，延伸過去就是埔里的市區，我們的腳下是直接巿區的石橋，從橋上望去，小河蜿蜒，流水汩汩，春綠的田陌相連，伸向迷濛遠方，自是一幅畫面。結果，大家都湧到橋上來了，待將畫箱架一字排開：好一幅寫生圖！套一句流行的話是：一道特別的風景線！ \n  \nYIM Mau-Kun\, Old Shed\, Nantou\, Taiwan\n33.5×45.5 cm，1999\n \nAfter leaving Puli\, several cars of us headed toward Shuili. I was rather muddle-headed\, with no real sense of the route or direction. My only task was to keep my eyes on the scenery along the way\, and the moment I spotted something paint-worthy\, I would call for a stop. \nWe got out at this abandoned work shed to take a look\, and sure enough\, it was promising—full of pictorial charm. The wooden factory building\, with its horizontal and vertical planks\, stood in a desolate little courtyard where a graceful flame tree stretched diagonally upward. Fine leaves were scattered over the plank roof and the earthen ground of the yard\, occasionally quivering and falling as if nervously shedding themselves. There was not a single person in sight—truly a place abandoned and emptied of life. Only the occasional passing bird cried out once or twice\, as if surprised that someone would pause to capture images of such a desolate old building. \nIn fact\, although this scene possessed a distinctive beauty\, it was extremely challenging to paint. Especially with trees standing in front of the shed—the trunks\, branches\, and leaves all had to be depicted\, including the fluttering foliage. And all of this had to be completed on site within three hours. \nRuined scenes often stir a sense of melancholy. Perhaps this is not merely my own tendency to “force sorrow” where it need not be.
URL:https://artgalleryapollo.com/2021/event/%e3%80%8a%e5%9f%94%e9%87%8c%e6%b2%b3%e3%80%8b%ef%bc%9a%e5%8f%b0%e7%81%a3%e2%80%a7%e5%8d%97%e6%8a%95%e2%80%a7%e5%9f%94%e9%87%8c/
CATEGORIES:作品
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Taipei:20260228T080000
DTEND;TZID=Asia/Taipei:20260228T170000
DTSTAMP:20260605T155746
CREATED:20260228T043543Z
LAST-MODIFIED:20260228T062836Z
UID:13875-1772265600-1772298000@artgalleryapollo.com
SUMMARY:冉茂芹，《春到梨山》：台灣‧台中(耶穌堂)
DESCRIPTION:  \n \n冉茂芹，《春到梨山》：台灣‧台中(耶穌堂)\n50×60.5cm，1990 \n從松柏村往後上山，梨花、蘋果花正在開放，滿山都活潑起來。米白色的小教堂在早上的陽光中熠熠生輝，教堂後的山脊被朝霧漫過，全然不見了身影。這裡是梨山春早的景象。 \n梨山寫生三幾次，有春天也有秋天，第一次就住在松柏村，梨山賓館一帶上上下下倒摸熟了，不僅畫了好幾張寫生畫，回到台北還藉以創作了幾幅風景大畫。 \n  \n\n\n\n\n\n\n\n\nYIM Mau-Kun\, Spring Comes to Lishan\, Taichung\, Taiwan \nFrom Songbai Village\, heading further up into the mountains\, pear blossoms and apple blossoms are in full bloom\, bringing a lively vitality to the hillsides. A small off-white chapel gleams in the morning sunlight\, while the ridge behind it is veiled in drifting dawn mist\, its outline completely obscured. This is the early spring scenery of Lishan. \nI have sketched in Lishan several times\, both in spring and in autumn. On my first visit\, I stayed in Songbai Village and became thoroughly familiar with the area around the Lishan Guest House\, wandering up and down its slopes. I completed several plein-air sketches there\, and after returning to Taipei\, I used them as the basis for creating a number of large-scale landscape paintings.
URL:https://artgalleryapollo.com/2021/event/%e3%80%8a%e6%98%a5%e5%88%b0%e6%a2%a8%e5%b1%b1%e3%80%8b%ef%bc%9a%e5%8f%b0%e7%81%a3%e2%80%a7%e5%8f%b0%e4%b8%ad%e8%80%b6%e7%a9%8c%e5%a0%82/
CATEGORIES:作品
END:VEVENT
END:VCALENDAR