Disabled and determined

  Physical disabilities are undoubtedly regrettable and painful. For sensitive artists, disability may bring them more than pain, just like genetic mutations, which often have unexpected results. Gao Fenghan and Lautrec are two artists who have inspired infinite creative inspiration because of their disabilities.
  Gao Fenghan (1683-1749), courtesy name Xiyuan, nicknamed Nancun, and later known as Nanfu Shanren, Nanfu Left Hand, etc. He is good at poetry and prose, good at calligraphy and painting, fine seal carving, and inkstone making. Gao Fenghan was born in a family of officials, scholars, farmers and salt. His father, Gao Yuegong, was a concubine during the Kangxi period. He was an instructor in Zhucheng and Zichuan. , they were all famous scholars and painters at that time. Due to his own talent and the influence of his family, Gao Fenghan showed his extraordinary talent at a young age. He was able to write lyrics and compose poems at the age of 9 and became famous in the village. “Study is good, and you will be an official”, however, the talented Gao Fenghan’s career is not smooth. After he became a scholar at the age of 19, he went to Jinan three times to take the township examination, but failed repeatedly.
  It was not until the fifth year of Yongzheng (1727) that the 44-year-old Gao Fenghan was recommended by Huang Zhirui, the prefect of Jiaozhou, to participate in the special examination of “Xianliang Fangzheng Ke” as a painter, and passed the first class. The landscape painting “Smoky Ting Ye Shu” now in the Capital Museum was made in this year. Its composition is novel and unique. In the picture, there are jagged mountains and flat slopes. The mountains are dotted with scattered pines and cypresses. There is a garrison on the slope, and there are several houses below. Flowing in the middle, the mountains and rocks are round and beautiful, and the ink in the distance is dyed with a faint smoke. It is one of the masterpieces of Gao Fenghan’s right-hand period.
  In 1728, Gao Fenghan was received by Emperor Yongzheng at the Yuanmingyuan in Beijing. Emperor Yongzheng gave him a picture of the Yuanmingyuan as a souvenir. In 1730, the 47-year-old Gao Fenghan finally got an eighth-rank petty official of “Xiu Shi Lang” and was sent to She County, Anhui Province as the county magistrate. After that, although there were relocations, there was no major improvement. Until the second year of Qianlong (1737), when he was about to serve as the magistrate of Man Xusheng, he was implicated in the case of Lu Jianzeng, the salt transport envoy of the two Huaihe Rivers, and was imprisoned. , he “defended unyieldingly” in court, and finally got Zhaoxue, although he was released soon, but forty or fifty days of prison life tortured him to the point of paralysis of his right arm. Since then, there has been a watershed in Gao Fenghan’s life. Just like Li Qingzhao’s style of writing changed drastically after his southward journey, Gao Fenghan had to switch to painting with his left hand. The style was very different from that of his right-hand period. He changed the fine brushwork and painting to rough brushwork. . In his letter to his friends, he said: “The pain of my brother’s loss of the right hand is indescribable. It is very interesting to replace it with the left wrist in the recent test
  . Judging from the existing works, it took more than 30 years to calculate from the beginning of his painting to the second year of Qianlong’s disability, and then 13 years from the time of his disability to the end of his life. The sum of the years is indeed physically disabled but not disabled. The “Plum Stone Picture” in the Zhenjiang Museum is the left hand of Gao Fenghan. Among the Yangzhou School of Painting, Jin Nong, Wang Shishen and Gao Xiang are the most famous for painting plums. Gao Fenghan took a different approach in painting plums. He is good at painting wild plums. This picture shows a vigorous and sparse old plum. Its old stems are inserted into the sky. The branches are like thorns, and the flowers are in full bloom. Shi, with a nodding gesture, these seemed to be picked up at random, revealing a natural interest, showing that Gao Fenghan’s left hand had reached an incomparable state of magic.
  In addition to painting with his left hand, Gao Fenghan is also good at finger painting. Finger painting is a finger-pointing pen, with fingers and nails dipped in ink to paint, and the ink painting is changing and interesting. In the Yangzhou School of Painting, only he and Li Hao learned from the famous finger painting master Gao Qipei, but Li Hao learned his meaning and he inherited his skills. The “Finger Painting Landscape and Flowers Album” now in the Tianjin Museum, although it is made with fingers, which increases the difficulty of expression, but from the perspective of the effect of the picture, it is no different from painting with a pen. Although the album is small, it is meticulously conceived, has a well-organized layout, has no traces of writing, and is full of false and real shades.
  The late 19th century French painter Henri Marie Raymond de Toulouse-Lautrec-Monfa (1864-1901) was a talented but controversial wizard in the painting circle. Lautrec was born in Albi, France on November 24, 1864, and his long name shows his noble status. Lautrec’s family history can be traced back to the two prominent families of France, the Count of Toulouse and the Viscount of Lautrec in the time of Charlemagne in the Middle Ages.
  In his childhood, Lautrec was lively and witty, and was loved by his parents. His noble background allowed him to receive a good education from an early age. The influence of the family atmosphere and the enthusiasm for life made Lautrec have an obsessive love for painting at a young age. In 1872, in order to enable Lautrec to have a superior learning environment, his mother moved him to Paris. As long as his mother was not around, Lautrec would scribble on textbooks and notes. A happy childhood gave him hope in life. However, the god of fate had no special favor for the young Lautrec. One day when Lautrec was 14 years old, when he stood up from his chair, he suddenly tripped over something under his feet, causing him to break. left leg. The next year, while walking with his mother in a nursing home, he fell into a ditch more than one meter deep by the side of the road and broke his right leg. According to common sense, the bones of children in their teens are very flexible and not easy to fracture. Even if a fracture occurs, they should continue to grow after being connected. However, due to the inbreeding of ancestors in order to maintain aristocratic blood, Lautrec has suffered from it since he was a child. “Polygoniosis”. Lautrec’s congenital bone disease caused his legs to stop developing, which also led to his later body deformities. The short legs supported the huge body, only 1.5 meters tall.
  Compared with Gao Fenghan, Lautrec’s living environment is much superior, perhaps because of this, Lautrec’s will is more fragile, and it is the distress brought by his disability that makes his shocking paintings. Lautrec did say, “Because of this accident, I became a painter. If my legs were as long as ordinary people, maybe I would not paint.” In order to relieve the pain and loneliness of the soul, Lautrec Days linger in the sensual land of Paris, and addicted to alcohol like life, using alcohol to relieve anxiety. The world-famous “Moulin Rouge Cabaret” is his favorite, and many of his works are based on the theme of “Moulin Rouge”. He even printed the address of Moulin Road as a business card for his friends. The 1953 film “Moulin Rouge” tells the story of Lautrec. Lautrec also appeared in the 2001 film “Moulin Rouge” starring Nicole Kidman.
  The Dance of the Moulin Rouge completed in 1890 is Lautrec’s representative work. The color of the picture is almost absurd, and all the characters appear very rough. He uses a specific method to capture these figures: Nearby are two ladies who have just entered the “Moulin Rouge”. The one in front is wearing a light purple dress and a top hat, young and beautiful, and actually becomes the most striking center of the whole picture. A little to the left, a pair of male and female dancers are dancing the quadrille enthusiastically and exaggeratedly. It is said that they are the Valentin le Depoise and the dancer La Goureau, whom Lautrec often painted. Surrounded by men and women in top hats and dresses, the lines of the images are quite free and cannot reflect a clear anatomical relationship. In fact, this is a lively portrait. The frequent visitors of the “Moulin Rouge” and several friends of the painter were scattered around, allowing him to draw and paint from life. The painting focuses on depicting the atmosphere, and the characters are abstract. They are here to relieve their boredom, or waste their time, or drink to relieve their sorrows, without showing any real happiness. Although there is a full color picture, the overall picture is not harmonious, and all there is is the cold, arrogant and tired character expressions.
  Lautrec is famous for his depiction of “Moulin Rouge”, and “Moulin Rouge” also became popular because of Lautrec. Not only did Lautrec create oil paintings, he was also an outstanding lithographer, and used lithographs to create his own posters. At that time, posters were just used in commercial promotion, so most businesses only made simple small black and white posters for publicity. After being commissioned by the Moulin Rouge in 1891, Lautrec began to make colorful posters with bright and powerful shapes, attracting customers with bold movements and expressions. Poster creator. Lautrec used many Ukiyo-e techniques in the poster: he boldly abandoned perspective, created a subjective sense of space with lines, and used asymmetrical proportions to set off the theme; in addition, he used large blocks on the poster. The solid-color decoration, the exciting colorful fonts, and the unique character depiction make people naturally attracted to his works. This also made his work an important promotional material for nightclubs or singers at the time.
  Perhaps life burned too fiery, and like Raphael, Watteau and Van Gogh, Lautrec was only 37 when he died. His wild and flamboyant paintings are forever fixed on September 9, 1901. In this year, the 20-year-old Picasso had just arrived in Paris. When he saw Lautrec’s works, he couldn’t help but exclaim: “I only understand now that this short man is such a great painter.”