Years Of Creation
ALL
This pencil sketch quietly delineates a corner of the campus.
Similar to the breakthrough of conventional forms in the figures painted by Chaim Soutine, it uses slightly distorted lines to strengthen the transmission of inner emotions.
Like Edvard Munch capturing emotional intensity—though softened here—it employs a more understated, everyday narrative.
Just like Auguste Rodin’s sketches, it uses lines as a language to tell the tension and vitality of the form.
Similar to Pietro Annigoni’s strict control of the body structure in sketches, it restores the real texture with delicate brushstrokes. Wrinkles and sideburns all hide the traces of time.
The brushwork is both delicate and heavy, combining lining and rubbing. It stacks textures with brushstrokes. The roughness of the skin and the texture of the clothing are accurately depicted.
In terms of modeling, it accurately outlines the head contour and hair form of the elder. Similar to Käthe Kollwitz’s refinement of the figure’s spirit in her prints, it uses vigorous lines to carve the wrinkles etched by time and the fluffy hair, materializing the vicissitudes of life.
Light gray lays out to create a soft atmosphere, and dark gray depicts tree shadows and building contours, showing the charm of “a single color contains all phenomena” in sketch.
This sketch constructs a scene of immense tension with concise yet powerful strokes.
Different from the all - inclusive nature of classical full - factor sketches, it emphasizes the instantaneity of “quick sketch of form and spirit”.